THE- ART- OF  THE 
VIENNA-  GALLERIES 


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DAVID  C.  PREYER 


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DVRER 


MADONNA    OF    THE    CUT    PEAR 
(See   page    138) 


Imperial 

Museum 


fje  ^rt  oi  ^  ^ 

Giving  a  Brief  History  of  the  Public  and 
Private  Galleries  of  Vienna  v^ith  a  Crit- 
ical Description  of  the  Paintings  Therein 
Contained. 


By 
David  C.  Preyer,  A.M. 

Author  of  "  The  Art  of  the  Netherland  Galleries," 
"  The  Art  of  the  Metropolitan  Museum,"  etc. 


Illustrated 


Boston 
L.  C.  Page  &  Company 

MDCCCCXI 


P7 


Copyright^  igii 
By  L.  C.  Page  &  Company 

(incorporated) 
All  rights  reserved 


First  Impression,  May,  191 1 


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Electrotyped  and  Printed  by 
THE  COLONIAL  PRESS 
C,  H.  Simonds  <Sr»  C<?.,  Boston,  U.S.A. 


preface 


If  this  book  should  induce  art  lovers  to  visit 
Vienna  and  view  its  museums,  my  devout  desire 
would  be  fulfilled;  but  also  —  which  is  of  far 
greater  importance  —  a  distinct  service  would  have 
been  rendered  to  these  art  lovers. 

For  the  Vienna  Galleries  of  paintings  are,  with 
the  exception  of  the  Hermitage  Gallery  in  St. 
Petersburg,  the  least  known  of  those  in  Europe; 
but  it  may  be  said  without  exaggeration  that  they 
are  among  the  most  important.  They  are  especially 
rich  in  the  works  of  masters  not  generally  known 
to  art  lovers,  but  of  equal  rank  and  often  higher 
merit  than  those  whose  names  are  more  familiar. 

The  wealth  of  these  Galleries  may  be  estimated 
when  we  consider  that  the  Imperial  Museum  shows 
over  twenty-six  hundred  paintings;  the  Academy 
Collection,  twelve  hundred;  the  Liechtenstein,  over 
eight  hundred;  the  Czernin,  three  hundred  and 
fifty;  the  Harrach,  almost  four  hundred;  the 
Schonbrunn,  one  hundred  and  fifty ;  and  the  Lower 
Belvedere  Gallery,  one  hundred,  or  about  five  thou- 
sand five  hundred  paintings  in  all.     Many  of  these 


22?i988 


vi  preface 

are  priceless  jewels.  Titian,  Palma,  Giorgione, 
Tintoretto,  and  some  Flemish  artists,  notably  Pieter 
Breughel,  the  Elder,  are  nowhere  so  abundantly 
represented.  The  older  German  school,  so  difficult 
to  appreciate  because  its  masterworks  are  distributed 
over  so  many  Germanic  museums,  may  here  be 
reviewed  almost  completely.  The  famous  Rubens 
Gallery  of  the  Louvre  is  rivalled  by  a  collection 
in  the  Vienna  Imperial  Museum  of  almost  fifty 
undoubted  examples  of  the  master's  work,  in  which 
he  may  be  studied  more  comprehensively  than  any- 
where else.  Although  there  is  a  noticeable  lack 
of  the  18th  century  French  artists,  or  of  the  Italian 
Quattrocenti,  there  are  many  interesting  Trecenti, 
and  an  unrivalled  display  of  the  minor  Dutch  and 
Flemish  painters. 

Waagen  has  well  said  that  Vienna  surpasses  all 
cities  of  Germany  in  the  importance  of  its  art 
collections,  and  may  in  Europe  be  compared  only 
with  those  of  London,  Rome,  Paris,  and  St. 
Petersburg. 

Since  the  majority  of  the  artists  represented  in 
the  different  galleries  are  frequently  mentioned  in 
the  book,  the  dates  of  their  births  and  deaths  have 
been  omitted  from  the  text  to  avoid  unnecessary 
repetition.  These  dates,  however,  are  given  in  the 
Index. 

David  C.   Preyer, 


Contents 


« 

PAGE 

Preface v 

CHAPTEK 

I.     The     Museums     and     Galleries     of 

Vienna       i 

11.     The  Imperial  Museum  —  The  Italian 

Paintings 13 

III.  The  French  and  Spanish  Paintings   .  71 

IV.  The  Flemish  and  Dutch  Paintings    .  81 
V.     The  Early  German  Painters       .        .  131 

VI.     The  Nineteenth  Century  Paintings.     151 
VII.     The  Gallery  of  the  Imperial  Academy 

OF  Fine  Arts 165 

VIII.     The   Collection   of  the   Prince   von 

Liechtenstein 208 

IX.    The   Collection   of   Count   Czernin  .     255 
X.     The  Collection  of  Count  von  Har- 

rach 271 

XL     The  Collection  of  Count  Schonborn- 

BucHHEiM 284 

XII.     The  Collection  of  Modern  Paintings 

IN  THE  Lower  Belvedere  .        .        .     292 

Bibliography 319 

Index 321 


Xist  of  irUuattattons 


PLATE  PAGE 

DiJRER.  —  Madonna  of  the  Cut  Pear    '      .      Frontispiece 
I     Benozzo  Gozzoli.  —  Adoration    .       .       .       .       .       14 
II     Ambrogio  de  Predis. —  Portrait  of  Emperor  Maxi- 
milian 1 25 

III  Raphael.  —  Madonna  of  the  Meadow        ...       28 

IV  Francesco  Parmigianino.  —  Cupid    trimming    his 

Bow 35 

V     Palm  A  Vecchio.  —  Portrait  of  a  Lady       ...  44 

VI     Titian.  —  Madonna  with  the  Cherries        .       .       .  48 

VII     Alessandro  Bonvicino.  —  St.  Justina      .       .       .  57 
VIII      Francois   Clouet.  —  Portrait    of    Charles    IX.  of 

France 71 

IX     Velasquez.  —  Laughing  Boy 78 

X     Hugo  van  der  Goes.  —  Lamentation  of  Christ     .  85 

XI     PiETER  Breughel,  the  Elder.  —  Winter        .       .  95 
XII     Rubens.  —  Portrait    of    Helene    Fourment.      (The 

Pelise) 99 

XIII  Van  Dyck.  —  Portrait  of  Prince  Rhodokanakis     .  in 

XIV  Adriaen  Brouwer.  —  Drinking  Peasant   .       .       .116 
XV      MiEREVELT.  —  Man's  Portrait 119 

XVI  Rembrandt.  —  Portrait  of  his  Mother        .       .       .121 

XVII  Jacob  van  Ruisdael.  —  The  Great  Forest       .       .125 

XVIII  Martin  Schongauer.  —  Holy  Family       .       .       .     135 

XIX  Hans  Burckmair.  —  Double  Portrait        .       .       .143 

XX  Leonhard  Beck.  —  St.  George 144 

XXI  Hans  Holbein,  the  Younger.  —  Jane  Seymour   .     146 

XXII  Titian.  —  Cupid 176 

XXIII  MuRiLLO.  —  Dice-playing  Boys 179 

jdii 


XIV 


Xist  of  iFllttstrattons 


PLATB 

XXIV 

XXV 

.    XXVI 

XXVII 

XXVIII 

XXIX 

XXX 

XXXI 

XXXII 

XXXIII 

XXXIV 
XXXV 

XXXVI 
XXXVII 

XXXVIII 
XXXIX 

XL 
XLI 

XLII 
XLIII 
XLIV 

XLV 

XLVI 
XLVII 


Hans  Baldung  Grien.  —  Rest  on  the  Flight  to 

Egypt i8i 

LuKAS  VAN  Leyden.  —  The   Sibyl   of  Tibur  and 

the  Emperor  Augustus 184 

PiETER  DE  Hooch.  —  Family  Group      .       .       .  187 

Dirk  Hals.  —  Cello  Player 189 

Jan  van  Goyen.  —  View  of  Dordrecht         .       .  197 

Rubens.  —  Tigress  and  Her  Young         .       .        .  199 

Jacob  Gerritsz.  Cuyp.  —  Portrait  of  a  Lady     .  200 

Sandro  Botticelli.  —  Portrait  of  a  Young  Man  209 

Van   Dyck.  —  Portrait  of  Maria  Luisa  van  Tassis  222 
Frans  Hals.  —  Portrait   of   Willem   van   Huyt- 

huysen 224 

Jacob  Jordaens.  —  The  Glutton    .       .       .       .229 

Chardin.  —  The  Cook 235 


Portrait  of  a  Man 
Elder.  —  Abraham's 


Heinrich  Aldegrever.  - 
Lucas     Cranach,      the 

Sacrifice  

Jean  Fouquet.  —  Portrait  of  a  Man     . 
Hans  Memlinc.  —  Madonna  and  Donor 
Gerard  Terborch.  —  Double  Portrait 
Jan     Vermeer     van    Delft.  —  Artist    in    his 

Studio 

Gerard  Dou.  —  Self-Portrait         .... 

Paul  Potter.  —  Morning 

Murillo.  —  Sleeping  Child 264 

Master  of  the  Female  Half-Figures.  —  The 

Concert 272 

Carlo  DoLa.  —  St.  Catharine         ....     286 
Max  Klinger.  —  Christ  in  Olympus      .       .       .316 


247 

249 
250 
252 
255 

257 
258 
260 


W^t  art  of  tt)t 


CHAPTER    I 

THE     MUSEUMS     AND     GALLERIES     OF     VIENNA 

The  principal  collection  of  paintings  in  Vienna 
is  the  property  of  the  Emperor  of  Austria,  and 
housed  in  a  magnificent  building  erected  by  Emperor 
Francis  Joseph. 

The  earliest  beginning  of  this  Imperial  collection 
was  under  the  Emperor  Charles  IV,  the  art-loving 
Luxemburg-Bohemian  monarch  who  ruled  in  the 
middle  of  the  14th  century.  Other  portions  of  the 
collection  reach  back  to  the  time  of  Emperor  Maxi-  j 
milian  I,  at  the  end  of  the  ISth  century.  Several 
family  portraits  now  in  the  museum  were  painted 
by  his  orders. 

In  the  time  of  Emperor  Ferdinand  I  there  was 
a  Kunstkammer  in  Vienna,  but  at  his  death  in  1 564 
the    paintings    were    inherited    by    the    archdukes 


2        Ube  Hrt  of  tbe  IDtenna  ©alleties 

Ferdinand  and  Karl,  and  transferred  to  Innsbruck/; 
Graz,  and  Ambrass,  to  be  returned,  centuries  later, 
to  Vienna. 

During  the  reign  of  Emperor  Maximilian  II 
(1564-1576)  a  second  Kunstkammer  was  started 
in  the  Vienna  Ho  f burg,  which  was  further  en- 
riched by  his  son  Rudolph  II.  Among  the  additions 
made  by  Rudolph  is  the  famous  Rosenkranz  Altar- 
piece,  by  Diirer,  which  came  from  Venice  in  1602. 
He  obtained  also  in  Spain  paintings  by  Correggio, 
the  **  lo  "  and  the  "  Ganymede,''  still  in  Vienna,  and 
the  '*  Leda,''  now  in  Berlin.  Karel  van  Mander,  in 
his  "  Schildersboek,"  already  called  Rudolph  a 
Breughel-collector,  but  the  Emperor  also  acquired 
works  by  Lange-Pier,  Patinir,  Massys,  Pordenone, 
Giovanni  Bellini,  Raphael,  Titian,  Caravaggio, 
Diirer,  and  others.  When  the  Court  moved  to 
Prague  the  Imperial  collection  of  paintings  was 
taken  thither,  and  during  the  disturbances  of  the 
Thirty  Years  War,  when  the  city  was  plundered 
by  the  Swedes  in  1648,  over  five  hundred  of  the 
pictures  were  carried  away  as  booty. 

The  collection,  thus  sadly  depleted,  came  next 
into  the  possession  of  the  art  loving  Archduke 
Leopold  Wilhelm,  who  from  1647  until  1656  had 
been  Governor  of  the  Southern,  or  Austrian, 
Netherlands.  Even  before  his  departure  for 
Brussels  this  prince  had  already  bought  paintings 


xrbe  /iDuseums  an&  ©alleties  ot  Vienna   3 

in  Venice,  and  surrounded  himself  in  Vienna  with 
local  artists,  among  whom  Franz  Leux,  although 
a  mediocre  painter,  was  still  the  most  prominent. 
As  soon  as  Leopold  was  settled  in  Brussels  he  took 
David  Teniers,  the  Younger,  as  his  court-painter 
and  adviser,  while  many  other  Flemings,  including 
Gonzales  Coques,  the  two  van  den  Hoecke,  Peter 
Snayers,  and  Erasmus  Quellinus,  were  drawn 
around  him. 

The  indefatigable  collector  had  soon  an  oppor- 
tunity to  add  to  his  collection,  for  in  1648  the 
sale  took  place  in  Antwerp  of  the  famous  Buck- 
ingham collection,  of  which,  old  records  tell  us, 
the  Archduke  bought  the  greatest  part.  Among 
the  paintings  thus  acquired  were  the  Bassanos,  three 
by  Rubens,  two  by  Guido  Reni,  Titian's  "  Ecce 
Homo,''  and  many  others.  Another  addition  was 
made  at  the  sale  of  the  collection  of  King  Charles 
I,  which  took  place  after  1649,  when  works  by 
Franciabigio,  Palma  Vecchio,  Parmigianino,  Giulio 
Romano,  and  others  were  acquired. 

The  Archduke  possessed  in  Brussels  over  thir- 
teen hundred  paintings,  the  importance  of  which 
is  indicated  by  the  famous  Theatrum  Picto- 
rum,  which  appeared  in  1660,  a  work  prepared 
by  Teniers,  in  which  two  hundred  and  twenty- 
three  paintings,  including  forty  Titians,  are  repre- 
sented. 


4       XCbe  art  of  tbe  \Dienna  Oallertes 

Another  result  of  Teniers'  connection  with  the 
Archduke's  collection  are  the  paintings  which 
Teniers  made  of  the  Archducal  gallery,  in  which 
the  pictures,  in  miniature,  are  seen  hanging  on  the 
walls.  Leopold  loved  to  have  these  so-called 
"  Painted  Galleries ''  made  to  send  to  friendly 
Courts  as  gifts.  They  give  a  clear  idea  of  the 
treasures  of  this  early  collection.  Thus  we  see  in 
the  principal  one,  now  in  the  Munich  Pinakothek, 
the  Archduke  himself  portrayed,  while  the  so-called 
*'  Cherry  Madonna,"  by  Titian,  and  paintings  by 
Feti,  Giorgione,  and  Paolo  Caliari  are  being  shown 
to  him.  Another  one  of  these  Painted  Galleries 
is  now  in  the  Imperial  Museum. 

When  Leopold  returned  to  Vienna  in  1658  he 
brought  all  his  pictures  with  him,  and  the  catalogue 
then  made  enumerated  five  hundred  and  seventeen 
Italian  paintings  and  eight  hundred  and  eighty  of 
German  and  Netherland  masters,  of  whom  the 
Flemish  naturally  were  in  the  vast  majority.  This 
is  the  reason  that  in  no  collection  in  Europe  are 
the  Flemish  painters,  even  those  of  second  and 
third  rank,  so  substantially  represented  as  in  the 
Imperial  Museum  at  Vienna.  The  entire  collection 
passed,  at  Leopold  Wilhelm's  death,  in  1662,  to 
the  Emperor  Leopold. 

In  the  next  generation,  notably  under  Charles 
VI,  a  large  number  of    18th  century  Vienna  art- 


TLbc  /IDuseums  an&  Galleries  of  IPienna    s 

ists  contributed  their  work  to  the  Imperial  collec- 
tion. 

Under    Maria    Theresia    the    collection    suffered  \ 
severe  losses  when  more  than  one  hundred  valuable  \ 
paintings  from  the  Prague  gallery  were  transferred 
to  the  King  of  Saxony  to  make  up  the  indemnity 
imposed  for  the  Silesian  war.    The  Dresden  Gallery 
owes  many  of  its  most  important  possessions  to  this 
occurrence.     Another   inroad   was   made   in    1753, 
when   the   Empress   ordered   the   paintings   of   the 
nude  to  be  removed  from  the  collection  and  sold. 
But  about  this  time  the  presence  in  Vienna  of  the    1 
Italian   Canaletto   and   the   Geneva   artist   Liotard    ! 
added  important  works. 

About  1772  the  influence  of  the  great  connoisseur,  [ 
Prince  Kaunitz,  was  exerted  to  bring  the  Imperial 
collections  together  in  a  worthy  home,  for  which 
the  summer  palace  of  Prince  Eugene  of  Savoy, 
called  the  Belvedere,  was  designated.  The  transfer, 
under  direction  of  the  curator  Josef  Rosa,  took  place 
in  May  and  June,  1776.  The  next  year  a  large 
purchase  was  made  in  the  Netherlands  of  Rubens' 
paintings,  now  forming  one  of  the  priceless  sections 
of  the  Museum.  The  occasion  was  the  sequestration 
and  sale  of  the  effects  of  the  Jesuit  Order  in  the 
Southern  Netherlands.  Over  fifty  paintings,  in- 
cluding many  of  the  large  Rubens'  from  the  Jesuit 
Church   of   Antwerp,   and    from   their   colleges   in 


6        XTbe  Brt  of  tbe  Dienna  (Ballerfea 

Brussels,  Namur,  Aloist,  Bruges,  and  Mecheln,  were 
purchased  for  the  paltry  sum  of  forty  thousand 
florins. 

In  1806  the  famous  so-called  Ambrasser  collection 
was  added  to  the  Imperial  Gallery,  and  displayed 
in  the  Lower  Belvedere,  a  building  at  the  foot  of 
the  terraces  facing  the  higher  castle.  This  collection, 
consisting  principally  of  arms,  but  with  a  large 
number  of  paintings  of  small  size  and  some  of 
larger  dimensions,  had  been  made  by  the  Archduke 
Ferdinand  of  Tyrol  (1529-1595),  and  gathered  in 
his  castle  at  Ambrass,  a  few  miles  from  Innsbruck. 
Among  the  more  valuable  paintings  were  Raphael's 
*'  Madonna  of  the  Meadow,"  Moretto's  "  Justina,'' 
and  many  Carracci.  There  were  three  hundred 
and  forty  paintings,  all  told,  to  enrich  the  Imperial 
collection. 

The  French  wars  of  the  early  19th  century  made 
sad  commotion  in  the  Belvedere.  The  paintings 
were  packed  and  sent  down  the  Danube.  Still, 
many  had  to  be  left  behind  to  fall  into  the  hands 
of  the  French  when  they  entered  Vienna.  These 
were  shipped  to  Paris,  and  not  all  were  returned 
at  the  Restoration. 

During  the  past  century  constant  purchases  have 
been  made.  In  1816  there  were  fourteen  paintings 
acquired  in  Venice,  among  these  the  magnificent 
Cima  de  Conegliano.     In  the  thirties  an  addition 


Zbc  /iDuseums  an&  Galleries  ot  IDtenna    7 

was  made  of  over  a  hundred  paintings,  principally 
of  contemporary  Viennese  artists. 

In  the  scheme  for  the  beautifying  of  Vienna, 
which  Emperor  Francis  Joseph  originated,  the  build- 
ing of  worthy  homes  for  the  Imperial  collections 
was  included.  A  beginning  of  this  was  made  in 
1872,  and  after  long  delay  the  Museum  on  the 
Ring  Strasse  received  the  entire  Imperial  collection 
of  paintings,  which  were  well  hung,  and  have  been 
catalogued  with  considerable  scholarly  acumen. 

The  Collection  of  the  Akademie  der  Bildenden 
Kiinste,  the  Academy  of  Fine  Arts,  had  its  origin 
in  the  18th  century.  It  contains  many  paintings 
gathered  in  Venice  from  now  demolished  churches 
and  f rater-houses ;  even  from  the  Doge's  Palace 
have  canvases  come  to  enrich  the  collection. 
Famous  old  Flemings  and  Dutchmen  represent 
their  respective  schools,  notably  by  the  wealth  of 
colour  of  their  paintings  of  still  life.  A  few 
Spaniards,  an  excellent  Murillo,  a  Carreiio,  and 
a  few  Frenchmen  may  be  added,  while  a  complete 
survey  of  Vienna  artists  of  the  18th  and  19th 
centuries  may  be  had. 

The  first  acquisitions  were  made  in  1731,  when 
the  annual  prize  pictures  of  the  Academy  were 
acquired,  many  of  which  are  still  shown.  In  1750 
a  beginning  was  made  with  the  collecting  of  the 
paintings  that  had   to  be   donated   by  new   mem- 


8        TLbc  Hrt  of  tbe  li)ienna  (Ballerfes 

bers  of  the  Academy.  The  Empress  Maria 
Theresia,  besides  giving  some  paintings,  estabHshed 
a  fund  the  interest  of  which  produced  the  means 
for  the  purchase  of  paintings  to  this  day. 

The  most  important  addition  was  the  famous 
collection  of  some  eight  hundred  paintings  brought 
together  by  Count  Anton  Lamberg-Sprinzenstein, 
a  noted  collector,  who  in  the  last  years  of  the  18th 
century  gathered  a  magnificent  collection  of  Italian 
and  Dutch  paintings.  After  his  death  in  1822  some 
dispute  arose  whether  the  Imperial  Gallery  or  the 
Academy  should  be  the  legatee,  which  question  was 
at  last  in  1824  decided  in  favour  of  the  latter,  but 
not  until  1835  was  the  collection  placed  on  exhi- 
bition. The  Lamberg  collection  had  already  in  1800 
a  European  reputation,  as  may  be  seen  in  Kiittner's 
Reisen  durch  Deutschland,  published  in  1801,  in 
which  many  of  the  Dutch  paintings  belonging  to 
Count  Lamberg  are  regarded  as  the  finest  works 
of  the  artists. 

In  1838  Emperor  Ferdinand  purchased  a  col- 
lection of  Venetian  paintings,  some  of  which  were 
placed 'in  his  own  gallery  in  the  Belvedere,  while 
others,  to  the  number  of  eighty-eight,  were  donated 
to  the  Academy. 

The  Academy  has  always  been  unfortunate  in 
its  exhibition  rooms.  The  collection  wandered 
about  from  place  to  place  until  the  present  building 


Ube  /iDuseums  an&  ©alleries  of  IDienna    9 

on  the  Schiller  Platz  was  completed  in  1876.  There 
the  twelve  hundred  paintings  cover  the  walls  from 
floor  to  ceiling  in  a  series  of  rooms  in  the  second 
story  of  one  of  the  wings,  with  poor  light  and 
the  most  apologetic  hanging  arrangement.  If  the 
numerous  copies  and  unimportant  works  were  re- 
moved, some  improvement  would  be  made. 

The  principal  private  gallery  of  Vienna  is  the 
world-famous  Liechtenstein  Gallery,  the  origin  of 
which  goes  back  to  the  end  of  the  16th  century,  but 
which  did  not  become  of  special  interest  until  Prince 
Josef  Wenzel,  in  1760,  added  many  valuable  can- 
vases. The  collection  is  still  housed  in  the  summer 
palace,  built  by  Domenico  Martinelli  in  1703,  the 
grounds  of  which  are  now  entirely  surrounded  by 
the  city's  growth.  The  rooms  are  decorated  with 
frescoes  by  Belucci,  Franceschini,  Andrea  Pozzo, 
and  Rothmayr.  The  present  Prince  Johann  is  still 
frequently  adding  to  his  collection  of  over  eight 
hundred  paintings  which  stands  unrivalled  among 
the  world's  private  galleries. 

Some  thirty  years  ago  the  Liechtenstein  gallery 
was  visited  by  a  wave  of  prudery,  and  all  paintings 
of  nude  figures  were  packed  off  to  be  sold  at  auction 
in  Paris. 

The  three  hundred  and  fifty  pictures  which  con- 
stitute the  Count  Czernin  collection  hang  together 
in  three  large  rooms  in  the  Count's  private  resi- 


lo      Ube  Htt  of  tbe  Dienna  ©alleries 

dence.  The  collection  was  founded  over  one  hun- 
dred years  ago  by  the  great-grandfather  of  the 
present  Count,  and  contains  several  masterpieces. 

The  founding  of  the  collection  of  Count  von 
Harrach  goes  back  to  the  second  half  of  the  17th 
century,  when  Count  Ferdinand  Bonaventura 
Harrach,  Imperial  Ambassador  at  Madrid,  acquired 
the  magnificent  Spanish  paintings  which  form  the 
nucleus  of  the  collection,  and  added  thereto  a  score 
of  works  which  he  bought  from  the  early  Viennese 
collector  Pilat.  In  the  next  century  Count  Alois 
added  most  of  the  Italian  pictures  during  his  resi- 
dence in  Naples;  and  Count  Friedrich  Harrach 
gathered  the  Dutch  section  while  travelling  in  the 
Netherlands.  Since  the  death  of  Count  Johann,  in 
1829,  there  have  been  no  important  additions  made. 

The  beginning  of  the  18th  century  laid  the 
foundation  of  the  collection  of  Count  Schonborn- 
Buchheim,  although  few  of  the  paintings  enumerated 
in  the  first  catalogue  of  1746  are  at  present  to  be 
found.  Later  exchanges,  the  sale  of  important 
paintings,  and  the  purchase  of  new  canvases  have 
wrought  a  great  change.  At  present  we  find  the 
collection  especially  rich  in  Dutch  pictures.  It  fills 
several  of  the  private  apartments  of  the  Count's 
palace. 

Many  of  the  paintings  in  the  Lower  Belvedere 
are  the  canvases  by  the  later  masters  of  the  19th 


XLbc  jflDuseums  an&  ©allertes  of  IDienna    n 

century  which  belonged  to  the  Imperial  collection, 
and  were  originally  hung  in  the  Upper  Belvedere. 
They  are  principally  from  the  brushes  of  Viennese 
artists;  but  there  are  a  few  foreign  canvases. 
Several  modern  paintings  belonging  to  the  Academy, 
and  a  number  of  State  purchases  have  been  added, 
whereby  an  interesting  collection  of  19th  century 
art  may  be  seen. 


Spanish 


French - 


u-soKviaaHxaj^-* 


IZ 


CHAPTER    II 

THE  IMPERIAL  MUSEUM THE  ITALIAN  PAINTINGS 

In  looking  at  the  ground  plan  of  the  Imperial 
Museum  we  note  that  four  large  galleries  and  four 
cabinets  to  the  right  of  the  entrance  are  filled  with 
the  examples  of  the  Italian  schools,  comprising  some 
six  hundred  paintings.  The  vast  majority  of  these 
belong  to  the  North  Italians,  and  specifically  to  the 
Venetian  masters  of  the  16th  century.  The  hanging 
arrangement  is  but  slightly  conducive  to  a  chrono- 
logical survey,  although  the  local  origin  of  the  paint- 
ings has  been  more  or  less  kept  in  mind,  and  the 
different  works  of  various  artists  have  been  kept 
together  as  much  as  wall-spacing,  or  what  artists 
call  "  wall-spotting,"  would  allow.  Since  the  cata- 
logue numbers  follow  each  other  consecutively  on 
the  wall  it  will  be  easy  for  those  who  visit  the 
Museum  to  locate  the  paintings  described. 

We  enter  then  the  First  Gallery.  Although 
the  earlier  Renaissance  painters  are  but  sparsely 
represented,  we  find  nevertheless  some  noteworthy 
examples.    Of  the  Florentine  Quattrocento  there  is 

13 


14      lEbe  art  of  tbe  IDienna  (Salleties 

but  one  example  —  a  work  of  wonderful  beauty 
and  charm.  It  is  an  early  work  by  Benozzo  Gozzoli, 
and  represents  an  "Adoration''  (No.  26  of  the 
Catalogue.  Plate  I).  On  a  throne,  the  back- 
drapery  of  which  is  upheld  by  angels,  is  the 
Madonna  seated,  worshipping  the  Child  that  lies 
on  her  knees.  St.  Bernard  kneels  on  her  left,  while 
St.  Francis  on  her  right  presents  a  diminutive 
Franciscan  monk. 

Benozzo  Gozzoli,  although  a  pupil  of  Fra 
Angelico,  presents  a  marked  contrast  to  the  mystic 
tendencies,  the  lofty  seriousness,  the  asceticism  of 
the  Dominican  painter.  His  was  a  joyous  nature, 
with  lively  imagination,  exuberant  fancy,  and  love 
of  nature.  No  one,  indeed,  was  less  disposed  than 
Benozzo  to  look  on  the  dark  side  of  things,  or  to 
take  life  tragically.  To  him  belongs  the  credit  of 
having  restored  in  art  the  episodic  element,  too 
often  sacrificed  in  the  ISth  century  to  the  con- 
templative element,  whereby  his  art  became  more 
cheerful  and  pleasing,  and  more  expressive  of  the 
sentiments.  Dogmatic  painting  was  not  for  him; 
his  spontaneous  fancy  required  freer  range.  What 
he  lacked  was  depth  of  feeling,  the  sense  of  noble 
form;  but  the  poetry  of  his  invention  has  the 
charm  and  grace  of  improvisation.  Thus,  although 
his  claim  to  rank  with  the  great  artists  of  his  country 
may  be  disputed,  he  yet  stands  among  the  painters 


^^ 


o 

< 

o 

Q 
< 


9*^ 

N  O 
O  N 

tq  O 


Ube  Umpettal  /iDuseum  is 

of  the  early  Renaissance  as  one  of  the  most  talented, 
and  certainly  the  most  fascinating.  In  the  painting 
before  us  we  m^ay  still  note  the  quiet  piety  and  the 
delicacy  of  colour  of  the  pre-Renaissance  period. 

Many  years  later,  in  1516,  Fra  Bartolommeo 
painted  for  the  Dominican  monastery  in  Prato,  of 
which  at  one  time  he  had  been  a  novitiate,  a  large 
panel  showing  "  The  Presentation  in  the  Temple '' 
(No.  41). 

No  work  by  Fra  Bartolommeo  is  characterised 
by  a  more  tender  and  simple  beauty.  Upon  the 
steps  of  an  altar  the  High-priest  Simeon,  in  a  red 
mantle  and  white  undergarment,  receives  the  infant 
Jesus  from  the  hands  of  the  Virgin,  who  is  clad 
in  a  long  blue  cloak,  the  folds  of  which  almost 
conceal  her  red  robe  underneath.  The  holy  women 
are  grouped  on  the  other  side  of  the  picture  in  that 
easy  and  lifelike  arrangement  in  which  the  master 
excelled  all.  Fra  Bartolommeo  had  the  full  mas- 
tery of  unison  in  composition  not  met  with  in 
the  work  of  any  Italian  painter  who  preceded  him. 
His  grouping  possessed  a  rare  vivifying  power. 
Although  his  serious  nature  was  not  suited  to 
idyllic  themes,  and  the  sublimities  of  tragic  passion 
lay  beyond  his  scope,  since  he  lacked  boldness  of 
imagination,  he  still  created  a  new  art,  by  establish- 
ing laws  of  composition  which  raised  the  ordinary 
and  commonplace  to  the  monumental.     He  aban- 


i6      Xtbe  Hrt  of  tbe  Dtenna  ©alleries 

doned  the  decorative  paraphernalia  of  the  15th  cen- 
tury, and  counted  upon  a  rhythmical  arrangement 
of  the  masses.  With  him  commence  the  academic, 
but  grand  compositions  which  may  almost  be  reduced 
to  a  geometrical  figure.  But  as  he  developed  in 
this  magnificent  ordering  of  the  lines  and  masses, 
there  came  a  carelessness  in  the  types ;  his  drawing 
became  less  studied,  and  the  faces  were  rarely  indi- 
vidual. He  appears  to  have  relied  too  much  upon 
the  lay-figure,  which  he  is  said  to  have  invented. 
But  despite  this  careless  generalising  of  what, 
indeed,  must  be  important,  we  cannot  fail  to  admire 
his  beauty  and  sweep  of  line,  and  the  architectonic 
solidity  of  his  grouping,  which  makes  all  the  figures 
interdependent  and  necessary  to  each  other. 

Fra  Bartolommeo's  pupil,  Andrea  del  Sarto,  is 
represented  by  a  "  Pieta  "  (No.  39).  This  artist's 
impressionable  temperament  is  well  reflected  in  the 
expression  of  woe  depicted  on  Mary's  face.  The 
beautiful  transparency  of  the  olive-green  tones 
shows  his  strong  colour  sense,  for  which  the  later 
Florentines,  indeed,  were  noted,  but  in  which,  so 
early,  Andrea  excelled.  No.  42,  ''  Tobias  and  the 
Angel,"  is  a  work  by  one  of  his  pupils,  although 
possibly  touched  by  the  master. 

Andrea  del  Sarto,  whom  his  contemporaries 
called  il  pittore  sensa  errori,  or  the  faultless  painter, 
should   come   in   critical   estimate   of   the   Tuscan 


XTbe  irmperial  /iDuseum  17 

school  immediately  after  Leonardo,  Michelangelo, 
and  Raphael  —  yet  he  cannot  be  ranked  with  these. 
It  may  be  difficult  to  convince  many  of  this,  who 
are  at  first  impressed  with  his  **  Elysian  beauty, 
melancholy  grace,''  as  Swinburne  in  poetic  fervour 
has  epitomised  his  work. 

To  enumerate  the  excellencies  of  his  achieve- 
ments is  not  difficult.  His  workmanship  is  solid, 
his  brush  unerring,  with  never  a  trickery  in  his 
method.  Difficulties  of  technique  did  not  exist  for 
him.  The  base  of  his  artistic  greatness  lay  surely 
in  the  integrity  of  his  drawing;  the  details  being 
neither  unduly  emphasised  nor  avoided,  being  al- 
ways part  of  a  greater  whole,  where  the  balance 
is  true  and  the  impression  indelible.  His  colour 
has  infinite  gradation  and  depth,  being  gay  and 
rich ;  and  as  a  colourist  Andrea  holds  a  first  rank 
for  his  harmony  and  strength  of  tone.  Nor  has 
he  ever  been  surpassed  in  the  rendering  of  flesh, 
which  has  all  the  round,  elastic  quality  through 
his  morbidezza. 

Yet  one  thing  is  lacking,  the  most  precious  gift 
that  makes  the  great  artist  —  inspiration,  depth  of 
emotion,  energy  of  thought,  conviction.  He  was 
.one  of  the  greatest  painters  —  yet  he  falls  short 
of  being  a  great  artist,  using  the  word  in  its  high- 
est sense.  His  very  cleverness  made  things  seem 
too  easy.     The  graceful  lines  that  flow  so  readily 


i8      XCbe  Hrt  of  tbe  IDienna  ©allertes 

lack  firmness  and  boldness  and  imposing  grandeur. 
The  invariably  beautiful  faces  of  his  women,  that 
lack  the  characterisation  of  types,  become  soft  and 
pretty;  and  the  gestures  become  even  artificial  and 
frivolous.  His  striving  for  effect  is  seen  in  the 
overloading  of  his  figures  with  draperies,  which 
he  knows  how  to  paint  so  admirably  —  and  does 
it  for  that  reason.  His  best  pictures  give  us  the 
sense  that  they  were  designed  with  a  view  to  solv- 
ing an  aesthetic  problem  to  the  admiration  of  the 
beholders. 

Del  Sarto's  pictures  exercise  a  potent  spell,  which 
Paul  Mantz  attempted  to  define  when  he  wrote, 
*'  Andrea  has  the  despotism  of  charm ''  —  but 
Andrea  del  Sarto  was  the  first  great  painter  who 
walked  the  road,  facilis  descensus,  which  led 
to  the  ultimate  ruin  of  Italian  art,  as  it  has  been 
the  ruin  of  all  schools  that  followed  it.  The  road 
to  please,  without  sincerity,  without  spiritual  aspira- 
tion. 

Andrea's  friend  and  collaborator,  Franciabigio, 
by  no  means  equalled  him.  There  is  a  "  Holy 
Family''  (No.  46),  originally  from  the  collection 
of  Charles  I,  which  is  beautifully  impressive.  It 
reminds  one  of  a  painting  in  the  Tribuna  at 
Florence,  the  "  Madonna  del  Pozzo,"  which  used 
to  be  ascribed  to  Raphael. 

There  are  still  three  other   Florentines   of  the 


Ubc  Ifmperial  /iDuseum  19 

16th  century  represented  by  excellent  works.  Giu- 
liano  Bugiardini,  —  to  whom  Miindler,  and  also 
Waagen,  ascribe  No.  46,  —  has  here  an  indubitable 
**  Abduction  of  Dinah''  (No.  36) — the  sons  of 
Jacob  deliver  their  sister  from  the  house  of  Sichem, 
and  wreak  their  vengeance  on  the  inhabitants  of 
Salem.  The  group  of  women  on  the  left  is  beau- 
tifully composed.  By  Jacopo  de  Pantormo  we  find 
three  portraits,  two  of  elderly  women,  and  one  of 
a  young  man  (Nos.  45,  48  and  SO).  This  last 
painting  is  good  enough  to  be  thought,  by  Crowe 
and  Cavalcaselle,  an  early  work  of  Bronzino,  from 
whose  hand  we  have  a  "  Holy  Family  ''  (No.  49), 
and  several  portraits  (No.  44,  and,  in  Cabinet  I, 
Nos.  94  and  97).  Bronzino  was  court-painter  to 
Cosimo,  the  first  Archduke  of  Tuscany.  His  feel- 
ing for  the  plastic  presentation  of  form  and  gran- 
diose composition,  as  well  as  his  lack  of  colour- 
sense,  may  be  recognised  in  these  examples. 

To  complete  our  survey  of  the  Tuscan  painters 
we  will  for  the  present  leave  the  First  Gallery  and 
enter  Cabinet  I,  where  we  are  at  once  impressed 
by  a  magnificent  work  of  the  earlier  Andrea  Man- 
tegna,  one  whose  influence  was  felt  in  all  northern 
Italy.  It  is  a  small  panel  (No.  81),  showing  the 
holy  Sebastian  bound  to  a  pillar,  and  pierced  by 
arrows.  There  is  a  classic  monumentality  in  this 
entire  composition,  a  sculpturesque  solidity  of  the 


20      TLbc  Hrt  ot  tbe  IPienna  Galleries 

youthful  body  that  harks  back  to  the  antique  — 
but  the  spiritual  feeHng  in  the  martyr's  dying  look 
announces  the  new  service  in  which  art  had  en- 
gaged. 

That  Mantegna,  however,  was  equally  well  versed 
in  the  esoterics  of  paganism  is  seen  in  the  series 
called  "Csesar's  Triumphal  March''  (Nos.  72-80), 
copies  made  by  Andrea  Andreani,  the  originals  of 
which  are  now  in  Hampton  Court,  in  England. 

It  is  a  gorgeous  grouping  of  pagan  splendour. 
First  we  see  the  vanguard  of  tubablowers,  soldiers, 
and  bearers  of  banners;  then  images  of  the  gods 
are  being  carried;  then  follows  the  war-booty, 
loaded  on  wagons  drawn  by  oxen.  A  large  herd 
of  animals,  wreathed  for  sacrifice,  precedes  a  num- 
ber of  elephants,  the  newest  of  war-trophies;  be- 
hind them  walk  the  captives,  with  sunken  heads, 
yet  proudly  stepping.  Then  come  musicians  and 
buffoons;  and  Julius  Caesar,  the  Triumphator, 
calmly  seated  on  his  high  chariot,  closes  the  pro- 
cession. 

This  great  series  was  painted  by  Mantegna  be- 
tween 1484  and  1492  for  his  patron  Francesco 
Gonzaga,  to  adorn  a  long  gallery  in  the  marquis' 
palace  of  San  Sebastiano,  at  Mantua.  In  1627  the 
entire  set  of  nine  paintings  was  bought  for  King 
Charles  I,  and  forms  the  chief  treasure  of  the  Royal 
Gallery  at  Hampton  Court.     They  were,  however, 


Ubc  irmperial  /IDuseum  21 

barbarously  "restored"  in  the  18th  century,  so 
that  to-day  but  Httle  remains  of  Mantegna's  splen- 
did work  save  the  composition  and  general  forms. 

Our  copies  here  give  a  far  truer  impression  of 
this,  one  of  the  greatest  achievements  of  the  early 
Renaissance.  It  is  a  superb  expression  of  the 
marvellous  genius  of  this  great  creator  of  the  science 
of  composition,  who  was,  besides,  the  greatest 
draughtsman  of  all  time.  The  overwhelming 
masses  of  rioting  pageantry  are  subdued  into  a 
rhythmic  procession  of  monumental  majesty.  It 
shows  how  the  artist's  powerful  imagination  was 
ennobled  by  the  most  finished  self-restraint. 

Although  Mantegna  did  not  leave  any  direct 
pupils  who  attained  celebrity,  his  fame  and  in- 
fluence were  widely  extended.  We  see  it  in  Ra- 
phael's "  Entombment,"  the  motif  of  which  is  bor- 
rowed from  the  Mantuan  master.  Sodoma  derived 
his  inspiration  for  his  decorations  in  the  Stanza 
della  Segnatura,  in  the  Vatican,  from  Mantegna's 
circular  ceiling  fresco  in  the  Castello  at  Mantua. 
He  influenced  Correggio,  Paolo  Veronese,  Albrecht 
Diirer,  Holbein,  and  many  others. 

One  who  owed  to  Mantegna  all  that  is  best  in 
his  art  was  Cosimo  Tura.  Of  this  painter  we  find 
"The  Body  of  Christ"  (No.  90),  supported  by 
two  weeping  angels.  The  catalogue  rightly  queries 
its  attribution  of  this  painting  to  Marco  Zoppo,  for 


22      Zbc  Hrt  of  tbe  IPienna  (Ballertes 

the  somewhat  larger  painting  of  similar  grouping, 
by  Tura,  now  in  the  Louvre,  fully  establishes  our 
painting  as  a  second  version.  The  artist's  peculiar 
mannerism  of  excessive  mobility,  which  sometimes 
degenerated  into  the  grotesque,  together  with  his 
delicate  technique  and  individual  colour-sense,  are 
plainly  manifest.  He  was  much  employed  by  the 
art  loving  Duke  Borso  d'Este. 

That  same  Ferrarese  colour  scheme  is  found  in 
the  work  of  his  pupil  Lorenzo  Costa.  A  beautiful 
female  portrait  (No.  85)  shows,  however,  also  the 
influence  of  the  Bolognese  Francesco  Francia  in 
a  softened  and  more  poetic  feeling.  A  stronger 
work  is  that  of  Dosso  Dossi,  the  ablest  of  the 
Ferrarese  before  Correggio. 

He  pictures  "St.  Jerome"  (No.  68)  sitting 
before  his  cave  and  holding  a  crucifix.  His  lion 
is  just  crawling  into  the  dark  cavern.  The  right 
half  of  the  canvas  is  filled  with  a  conventional 
landscape,  where  in  the  distance  we  see  the  devout 
entering  a  church.  A  strong  light  reflects  from 
the  naked  torso  of  the  saint,  silhouetted  against 
the  rock  background.  This  is  a  standard  work, 
used  at  all  times  for  comparison  with  pretended 
examples  of  the  artist  as  being  the  most  character- 
istic of  Dosso  Dossi's  paintings. 

Let  us,  then,  draw  the  characteristics  of  this 
Ferrarese  painter,  who  owed  everything  that  gives 


XCbe  Ifmpetial  /ftuseum  23 

him  consideration  to  Giorgione  and  Titian,  from 
the  picture  before  us.  We  note  that  the  drawing 
of  the  figure  is  here  sHpshod,  there  over-accen- 
tuated, the  modelHng  being  puffy  and  hollow.  His 
talent  comes  out  best  in  a  feeling  for  poetic  effects 
of  light  and  colour,  which  he  must  have  caught 
from  Giorgione's  haunting  magic.  His  painting 
spells  the  ease  of  his  performance,  but  its  glamour 
and  richness  of  tone  and  the  maze  of  his  alluring 
lights  cannot  hide  the  shallowness  of  his  mean- 
ing. He  was  a  romantic  illustrator  par  excel- 
lence. 

A  few  Milanese  paintings  are  also  found  in  this 
cabinet.  A  ''Madonna  with  a  Lily"  (No.  84), 
and  the  portrait  of  a  "Young  Man''  (No.  83), 
cannot  with  certainty  be  attributed,  although  the 
Milanese  school  must  have  produced  them.  More 
assured  are  we  of  a  ''  Christ  bearing  the  Cross  " 
(No.  82),  with  its  porcelain  finish,  which  belongs 
to  Andrea  Solario,  the  devoted  follower  of  Leonardo 
da  Vinci,  who  went  with  his  master  into  exile  in 
France,  after  the  overthrow  of  the  Sforzas  in 
Milan. 

Bernardino  Luini  is  shown  by  an  early  painting, 
"St.  Jerome"  (No.  87),  which  cannot  be  com- 
pared with  Dossi's  stirring  work.  A  better  example 
of  Luini's  hand  is  his  "  Daughter  of  Herodias  " 
(No.  86),  where  a  beautiful   Salome  offers  on  a 


24      Ube  Hrt  of  tbe  IPienna  ©alleries 

silver  dish  the  head  of  the  Baptist,  with  its  calm, 
peaceful  face,  and  long,  dark,  curling  locks. 

This  subject  has  been  treated  by  Luini  at  least 
four  times.  One  of  these  works  is  in  Florence, 
another  in  Milan,  a  third  in  Paris,  and  the  fourth 
is  before  us.  Salome  differs  in  features  in  each 
version  of  the  subject,  but  her  style  of  dress,  her 
full  bosom,  only  partially  hidden  by  the  under- 
garment, her  long,  rippling,  golden  hair,  confined 
by  a  fillet,  are  similar  in  each  picture.  She  is  a 
beautiful,  sensuous,  and  voluptuous  woman,  devoid 
of  sympathy  or  tenderness,  strongly  contrasting 
with  the  tragic  spectacle  offered  by  the  severed 
head  of  John  the  Baptist. 

Bernardino  Luini  has  been  called  the  Raphael 
of  Lombardy,  although  he  is  closer  affiliated  to 
Leonardo  da  Vinci.  Without  being  a  pupil  of 
Leonardo  he  was  a  distant,  but  faithful  follower 
of  the  Milanese  master.  Indeed,  so  closely  did  he 
adapt  his  style  to  that  of  da  Vinci  that  their  works 
have,  until  recently,  been  commonly  confounded, 
most  of  Luini's  pictures  having  at  one  time  or 
another  been  attributed  to  the  other  master.  Still 
with  all  this  adaptation  Luini  never  lost  his  own 
natural  and  sympathetic  expression.  From  Leo- 
nardo he  took  his  gracious  types,  and  simpified 
them;  his  severe  types,  and  softened,  often  weakened 
them;    but  in  many  a  picture,   particularly   those 


AMBROGIO 

DE 

PREDIS 


PORTRAIT   OF   EMPEROR   MAXIMILIAN    I 


Plate  II 


Imperial 
Museum 


•  •     •  */  •  * 


Ubc  imperial  /iDuseum  25 

in  which  he  painted  the  Virgin  and  the  Child,  or 
the  Saints  in  moments  of  fervour  or  repentance, 
he  shows  himself  spiritually  superior  to  Leonardo. 
His  intense  faith,  his  deep  devotion,  the  truth  of 
his  religion,  and  his  intimate  knowledge  of  the 
mystery,  alike  of  joy  and  of  bitter  sorrow,  are 
revealed  by  his  pictures.  Ruskin  has  well  said 
that  *'  he  joins  the  purity  and  passion  of  Fra 
Angelico  to  the  strength  of  Veronese.  But,''  he 
goes  on  to  say,  "  the  two  elements,  poised  in  per- 
fect balance,  are  so  calmed  and  restrained  each 
by  the  other  that  most  of  us  lose  the  sense  of 
both." 

The  work  of  Ambrogio  de  Predis  is  of  unequal 
merit,  but  his  *'  Portrait  of  Emperor  Maximilian 
I''  (No.  69.  Plate  II)  is  among  the  best  of  his 
works.  It  is  scarcely  plausible  that  this  straight- 
forward, dignified  portrait  should  come  from  the 
brush  of  one  who  at  other  times  lost  himself  in 
the  sugariness  and  perfume  of  insipid  women's 
heads  and  effeminate  lads'  faces.  It  shows  the 
overtowering  and  unavoidable  influence  which 
Leonardo  da  Vinci  exercised  over  the  men  who 
came  in  contact  with  him.  Where  Leonardo  suc- 
ceeded in  painting  beauty,  intensified  in  character, 
to  mysticism,  as  in  his  Mona  Lisa,  his  followers, 
less  capable,  unhappily  swung  through  greater  pret- 
tiness  to  sweetness,  sickliness  and  affectation.    This 


26  Ube  Htt  ot  tbe  IDienna  Galleries 

momentum  to  the  other  side  —  from  the  sterHng 
character-portrait  of  MaximiHan  to  the  weak  por- 
trayal of  a  charming  woman,  is  seen  in  No.  70, 
a  "  Portrait  of  Bianca  Maria  Sforza/'  the  second 
wife  of  Emperor  MaximiHan.  Although  not  by 
his  own  hand,  it  is  a  faithful  and  excellent  copy 
of  an  original  by  de  Predis,  which  until  recently 
was  owned  in  Berlin  but  is  now  in  a  private  col- 
lection in  Philadelphia. 

A  more  slavish  imitator  of  Leonardo  was  Cesare 
da  Sesto,  of  whom  we  have  also  a  '^  Daughter  of 
Herodias "  (No.  91),  which,  naturally,  excels  in 
loveliness  of  form  and  coloratura. 

A  painting  by  Giorgio  Vasari,  better  known  as 
the  artists'  biographer,  still  attracts  us  here.  It 
represents  a  *' Holy  Family"  (No.  93).  Several 
works  by  pupils  of  Michelangelo,  breathing  the 
spirit  of  the  great  Florentine  master,  complete  our 
survey  of  this  cabinet,  and  of  the  Florentine  school. 

Returning  to  the  First  Gallery  we  note  that 
the  Umbrians,  closely  related  to  the  Tuscan  paint- 
ers, are  even  more  sparsely  represented,  and  that 
by  only  two  artists.  Maestro  Pietro  Perugino,  and 
his  most  famous  pupil,  Raphael  Sanzio. 

Of  Pietro  Perugino  we  find  four  examples.     No. 

27  is  a  large  picture,  somewhat  roughly  painted, 
of  "  Mary  with  the  Child  and  Four  Saints.''  This 
must  be  one  of  the  examples  for  which  Michel- 


TLbc  IFmpetial  /Duseum  27 

angelo  criticised  Pietro,  saying  that  **  his  art  was 
rude."  No.  32  shows  the  "  Madonna  and  Two 
Saints  "  and  is  a  typical  work  of  Perugino,  note- 
worthy also  because  it  has  his  own  undoubted 
signature  in  light  brown  on  the  left  at  the  bottom. 
These  two  examples  are  further  interesting  because 
of  the  renewed  presentation  of  this  subject  in  half- 
figures.  The  **  St.  Jerome"  (No.  25)  is  not  as 
important  as  a  small  ''Baptism  of  Christ"  (No. 
24),  with  charming  angel  figures  and  a  beautiful 
landscape. 

Perugino  was  a  strong  enough  painter  to  impress 
his  pupil  Raphael  to  such  an  extent  that  Raphael's 
first  manner  of  painting  is  commonly  called  his 
Peruginesque  manner.  This  personal  style  con- 
sisted especially  in  the  painting  of  draperies  which 
fall  in  deep,  easy  folds.  His  brushwork,  also,  was 
usually  clean  and  close-finished,  sometimes  affect- 
ing the  use  of  gold  in  the  light-painting,  as  the 
earlier  painters  had  done. 

But  the  greater  master  followed  —  Raphael. 
Only  one  example  is  shown  in  the  Museum,  but 
one  that  ranks  among  the  most  beautiful  of  Ra- 
phael's Madonnas,  and  is  regarded  by  many  as  the 
most  valuable  art  treasure  in  Vienna.  This  is  the 
famous  "Madonna  of  the  Meadow"  (No.  29. 
Plate  III),  painted  in  1506,  in  Florence,  for  his 
friend  Taddeo  Taddei. 


28       XTbe  Hrt  ot  tbe  Dienna  Galleries 

The  date,  which  is  on  the  hem  of  the  dress  at 
the  breast,  places  this  magnificent  painting  in  the 
year  before  the  ''  Belle  Jardiniere,"  of  the  Louvre, 
which  was  painted*  in  1507.  Unlike  this  latter 
painting,  which  was  left  unfinished  by  Raphael 
when  he  left  Florence,  and  was  completed  by  Ghir- 
landajo,  our  Madonna  is  entirely  by  Raphael's  own 
hand.  With  all  his  youthful  enthusiasm  he  pro- 
duced a  work  that  is  perfect  in  every  detail.  The 
composition  is  wonderful  in  its  sense  of  space; 
there  is  moderation,  a  divine  purity  in  the  colour; 
and  the  whole  presents  that  essence  of  beauty  which 
marked  him  the  greatest  of  all  artists  since  the 
Greeks. 

The  genius  of  Raphael  was  assimilative.  He 
absorbed  all  that  was  excellent  in  Perugino's  work 
and  rendered  it  with  greater  delicacy  and  spon- 
taneity. From  Fra  Bartolommeo,  in  Florence,  he 
learned  the  secrets  of  composition  and  brought  this 
to  architectural  perfection.  Under  the  influence  of 
Michelangelo,  in  Rome,  he  drank  in  the  classic 
spirit  through  the  study  of  the  antique  —  yet  in 
no  sense  at  any  time  sacrificing  his  individual- 
ity. The  masterpieces  that  impressed  him  only 
served  to  teach  him  how  to  comprehend  his  own 
ideal. 

A  comparison  of  the  ''  Madonna  of  the  Meadow  '' 
with  *'  La  Belle  Jardiniere ''   is  pertinent,  because 


'RAPHAEL 


MADONNA    OF    THE    MEADOW 
Plate  III 


Imperial 
Museum 


Ube  flmperial  /ftuaeum  29 

they  were  painted  so  nearly  at  the  same  time,  and 
are  so  nearly  alike  in  composition.  Both  have  the 
pyramid  style  of  composition  favoured  by  Fra 
Bartolommeo,  but  the  Vienna  picture  is  superior 
in  almost  every  respect.  The  landscape  has  a 
greater  space  and  more  the  breath  of  out-of-doors. 
The  children  are  perfect  in  their  charm  of  natural 
pose  and  expression,  while  those  in  the  Paris  pic- 
ture are  less  free,  more  constrained,  and  the  head 
of  the  little  John  is  scarcely  pleasing  —  if  we  should 
care  to  say  so  much.  There  is  also  more  graceful 
ease  and  dignity  in  the  pose  of  our  Madonna,  whose 
features,  slightly  more  mature,  are  also  more  beau- 
tiful—  in  the  Paris  painting  they  are  somewhat 
too  girlishly  beautiful   for  motherhood. 

When  we  stand  before  this  ''  Madonna  of  the 
Meadow,''  so  spiritual  in  its  ethereal  beauty,  painted 
when  the  master  was  but  twenty-three  years  old, 
and  then  gaze  forward  to  that  majestic  theophany, 
the  Disputa,  in  the  Stanza  della  Segnatura  of  the 
Vatican,  finished  before  he  was  thirty,  we  are 
astounded  and  impressed  with  the  serene  supremacy 
of  one  who,  dying  young,  still  gave  the  world  the 
most  complete  expression  of  every  beauteous  form, 
ranging  from  the  tender  to  the  sublime. 

Of  Raphael's  pupils  there  are  a  few  excellent 
examples.  Giulio  Romano,  his  most  favoured  pupil, 
who  completed  the  ''Transfiguration/'  left  unfin- 


30       xrbe  Htt  ot  tbe  IDienna  ©allerfes 

ished  at  the  master's  death,  painted  the  "  St.  Mar- 
garetha ''  (No.  31).  The  martyr,  by  the  power 
of  faith,  looks  down  undaunted  upon  the  threaten- 
ing dragon  at  her  feet.  The  colour  of  the  thin, 
blue  garment  that  covers  her,  and  the  play  of 
shadows  in  the  dark  grotto,  are  exquisitely  ren- 
dered. 

Romano's  own  pupil,  Polidoro  da  Caravaggio, 
who  also  worked  in  Raphael's  studio,  and  who  must 
not  be  confounded  with  the  half  century  later 
Amerighi  Caravaggio,  is  best  known  for  his  large 
decorations  on  fagades,  and  but  few  of  his  easel 
pictures  are  known  to  exist.  The  Museum  pos- 
sesses a  grisaille  painting  (grey  on  grey),  repre- 
senting the  classic  story  of  '*  Cephalus  and  Procris  " 
(No.  33),  which  excels  in  sculpturesque  drawing. 
This  applies  especially  to  the  figure  of  Cephalus, 
who  stands  with  outstretched  arms,  horror-stricken, 
before  the  dying  Procris,  whom  unwittingly  he  has 
pierced  with  the  never-failing  javelin  she  herself 
had  given  him. 

An  earlier  member  of  the  Raphael  circle  was 
the  Bolognese  Francesca  Francia,  who  was  a  friend 
of  the  great  Urbinate,  and  who  exercised  great  in- 
fluence on  the  young  genius.  We  find  here  a 
"Madonna  and  Child"  (No.  47).  The  Madonna 
is  seated  on  a  high  throne,  holding  the  Child  stand- 
ing on  her  lap,  while  St.  Catharine  of  Alexandria 


XTbe  Imperial  /iDuseum  31 

and  the  little  John  surround  her.  The  painting 
displays  the  great  naturalism  of  this  highly  gifted 
artist,  whose  work  forms  a  sort  of  link  between 
the  incomplete  productions  of  the  Primitives  and 
the  finished  and  perfect  work  of  Leonardo  and 
Raphael.  His  types  are  homely,  his  snub-nosed, 
heavy-chinned  Madonnas  rather  dull,  but  yet  with 
a  naive  sincerity  of  expression. 

Giovanni  Antonio  Bazzi,  called  Sodoma,  was  a 
friend  of  Raphael,  although  a  pupil  of  Leonardo 
da  Vinci,  and  properly  belonging  to  the  Lombard 
or  Sienese  school.  His  *'  Holy  Family  ''  (No.  51), 
of  half -figures,  is  not,  however,  so  good  a  painting 
to  give  as  high  a  standing  to  the  artist  as  his  works 
in  other  galleries  would  give  him,  notably  those 
in  Siena.  It  shows  the  slovenly  carelessness  to 
which  this  jovial,  pleasure-loving,  almost  licentious 
painter  often  descends.  By  nature  one  of  the  most 
talented  and  gifted  of  men,  this  whimsical  scatter- 
brain  disdained  to  follow  the  road  to  all  attain- 
ment—  hard  work.  No  painter  was  more  richly 
dowered  —  facility,  elegance,  remarkable  powers  of 
assimilation,  and  a  fertile  fancy  were  his;  but  wil- 
ful negligence,  careless  lassitude,  and  a  frivolous 
character  spoiled  his  chances.  Most  of  what  he 
left  in  a  long,  productive  life  is  showy  and  trivial; 
only  occasionally  did  he  reach  a  height  of  inspira- 
tion that  can  produce  a  noble  emotion,  but  even  his 


32      XTbe  art  ot  tbe  Dienna  Galleries 

best  work  is  full  of  inconsistencies  and  contradic- 
tions. 

The  greatest  of  all  Ferrarese  painters  was  An- 
tonio Allegri  da  Correggio.  This  artist  is  the  only 
one  who  has  represented  those  mythological  sagas, 
wherein  the  Greeks  symbolised  the  impregnation 
of  humanity  with  the  divine  power,  and  who  suc- 
ceeded in  picturing  this  symbol  of  love  with  an 
intimate  union  of  sweet  innocence  and  naive  clear- 
ness. He  has  done  so  in  the  ''  lo,"  and  in  the 
Berlin  "  Leda." 

With  pure  and  marvellous  fecundity  of  imagina- 
tion has  Correggio  here  represented  the  embrace 
of  lo  by  a  cloud  in  which  the  form  of  Zeus  is 
mystically  seen  (No.  64).  There  is  scarcely  a  nude 
painting  in  existence  that  can  compare  with  the 
magnificent  morbidezza,  the  illuminating  surface, 
the  suggestive  abandon  in  the  drawing  of  lo's  figure. 

We  cannot  accuse  Correggio  of  conscious  im- 
morality, or  what  is  stigmatised  as  sensuality.  The 
ardour  of  his  love  for  physical  life  made  him  seek 
for  life  and  movement  in  his  figures,  and  present 
them  with  intoxicating  beauty  of  form.  He  painted 
purely  beautiful  dreams  of  beautiful  things  in  per- 
petual movement,  with  the  laughter  of  never-fail- 
ing lightsomeness.  His  was  a  search  for  beauty 
rendered  with  joyful  emotion,  stimulating  the  finest 
thrills  of  nervous  life.     His  soft  and  flowing  con- 


xrbe  irmperial  /iDuseum  ss 

tours,  his  harmonious  and  scintillating  splendour  of 
colour-scheme,  his  all-pervading  lightrays,  his  art- 
less grace  and  melodious  tenderness,  work  as  by 
magic  on  the  spectator  to  the  intoxication  of  the 
senses. 

It  is  true  that  Correggio  lacked  self-restraint. 
Thus  his  fatal  faculty  in  the  presentation  of  move- 
ment leads  to  attitudinising  and  nervous  restless- 
ness; his  sweetness  often  lapses  into  mawkishness 
and  affectation;  and  the  feebleness  of  his  composi- 
tion often  produces  emptiness  of  meaning  or  melo- 
dramatic attitudes.  His  expression  is  the  same 
whether  he  paints  heavenly  or  earthly  love;  for 
his  Madonnas  and  Magdalenes  exhibit  the  same 
type  of  face,  the  same  dewy,  melting,  tenderly  lan- 
guishing eyes,  the  same  small  nose,  and  the  same 
over-delicate,  smiling  mouth  as  his  Danae,  his  Leda, 
or  his  lo.  But  these  are  faults  of  his  excellences 
and  need  not  disturb  us.  He  was  the  painter  of 
joy  and  beauty,  and  may  be  said  to  represent  the 
feminine  side  of  the  life  of  the  senses,  as  later 
Rubens,  who  owes  much  to  him,  depicted  the  mascu- 
line. To  no  artist  more  truthfully  can  be  applied 
the  old  saying:    *'  The  style  is  the  man." 

The  head  of  lo  was  entirely  repainted  by 
Prudhon,  the  French  artist  of  the  end  of  the  18th 
century. 

As  a  pendant  to  the  lo  hangs  Correggio's  well- 


34      XCbe  Hrt  of  tbe  IDfenna  ©alleries 

known  ''Ganymede''  (No.  59),  where  Jupiter's 
eagle  is  carrying  off  the  boy,  whose  dog  barks 
after  his  disappearing  master.  Many  experts  have 
questioned  the  authenticity  of  this  canvas,  and 
assert  that  a  pupil  of  Correggio  copied  a  Putto  in 
one  of  the  frescoes  in  the  Dome  at  Parma,  which 
copy  gradually  changed  into  our  picture.  But 
there  are,  on  the  other  hand,  too  many  evidences 
in  favour  to  deny  the  authorship  of  the  great  Lom- 
bard master  by  whose  name  the  painting  was 
^  known  as  early  as  1579,  when  it  was  in  the  posses- 
sion of  one  of  the  courtiers  of  Philip  II  of  Spain. 

The  "  Crossbearing  Christ"  (No.  60),  which 
hangs  next  to  the  Ganymede,  only  giVen  to  Cor- 
reggio with  a  query,  has  by  Berenson  been  attrib- 
uted to  Cariani,  whom  we  will  meet  in  the  next 
gallery. 

Correggio's  closest  follower,  Francesco  Parmi- 
gianino,  is  exceptionally  well  represented.  A  self- 
portrait  (No.  58),  painted  from  a  concave  mirror, 
shows  a  youthful  man  with  somewhat  effeminate 
features.  This  last  of  the  real  Renaissance  paint- 
ers in  North  Italy  had  sufficient  individuality  to 
change  the  sensuous  femininity  of  his  master  into 
a  sterner  and  more  sincere  trait  of  elegance.  His 
strongest  portrait  here  is  one  which  by  tradition 
is  said  to  represent  Malatesta  Baglione  (No.  67), 
but  has  been  suggested  with  more  reason  to  portray 


CUPID    TRIMMING    HIS    BOW 
FRANCESCO  Imperial 

PARMIGIANINO  ^^^^^  ^^  Museum 


Ube  irmperfal  jflDuscum  ss 

Lorenzo  Cibo,  the  Chief  of  the  Papal  Bodyguard. 
Although  the  catalogue  queries  its  own  attribution 
we  must  fully  accredit  this  beautiful  portrait  to 
Francesco.  It  is  far  more  energetic  than  the  por- 
trait of  another  man  (No.  61),  dressed  in  black, 
and  holding  a  black  barret  in  his  right  hand.  The 
"St.  Catharine"  (No.  57),  seated  under  a  palm- 
tree,  has  the  graceful  slenderness  of  a  Tanagra 
figurine;  while  the  "Cupid  trimming  his  Bow" 
(No.  62.  Plate  IV)  has  that  same  delicacy  of  a 
terra-cotta  statuette.  This  is  a  famous  painting, 
and  was  originally  held  to  be  the  work  of  Cor- 
reggio. 

The  remaining  paintings  to  be  noticed  in  this 
gallery  are  Venetian. 

The  earliest  Venetians  received  their  inspiration 
in  the  first  half  of  the  15th  century  from  the 
Muranese  painters  who  had  been  taught  by  Fran- 
cesco Squarcione  of  Padua  and  the  great  Mantegna. 
This  influence  is  manifest  in  a  "Crucifixion"  (No. 
9),  by  Andrea  da  Murano,  and  in  an  altarpiece 
(No.  10),  consisting  of  five  arched  panels  with 
gold  background.  This  is  by  Bartolommeo  Viva- 
rini,  and  is  preserved  in  its  original  frame,  richly 
carved  by  Jacopo  da  Faenza.  St.  Ambrose  on 
a  throne,  before  whom  ecclesiastics  are  kneeling, 
is  shown  in  the  middle  panel.  On  the  two  wings 
to  the  right  are  St.  Peter  and  St.  Louis;    to  the 


36      Zbc  Hrt  of  tbe  tDienna  Galleries 

left  St.  Paul  and  St.  Sebastian.  This  work  has 
still  the  Byzantine  trait,  which  longest  survived 
in  Venice. 

The  Venetians  were  very  slow  in  developing 
their  art,  for  the  rise  of  the  art  of  painting  in 
Venice,  about  the  middle  of  the  15th  century, 
occurred  not  until  more  than  a  century  and  a  half 
after  its  rise  in  Florence.  It  took  the  Venetians 
a  long  time  to  break  through  mediaeval  trammels 
and  forego  the  antiquated,  somewhat  rustic  style 
of  their  work. 

With  the  sons  of  Jacopo  Bellini,  —  himself  not 
sufficiently  appreciated  —  with  Giovanni  and  Gen- 
tile Bellini,  the  Venetian  school  may  be  considered 
to  have  been  established.  No  little  credit,  how- 
ever, should  be  accorded  to  Antonello  da  Messina, 
who  introduced  the  method  of  oil  painting  of  the 
Flemish  brothers  van  Eyck  to  Italian  artists.  In 
Antonello's  "Christ  in  the  Grave"  (No.  5),  with 
three  weeping  angels,  is  shown  the  curious  com- 
bination of  Italian  and  Flemish  method  which  is 
to  be  noted  in  most  of  this  artist's  work. 

While  Giovanni  Bellini  laid  the  foundation  of 
that  rich  colour-scheme  with  its  warm,  golden  glow, 
which  was  to  become  the  chief  characteristic  of 
the  Venetian  school.  Gentile  Bellini  saw  these  rich 
colours  under  light-problems  which  the  later  Dutch- 
men   brought    to    perfection.     There    is    unfortu- 


Ubc  ITmpetial  /iDuseum  37 

nately  no  example  of  Gentile's  work  in  the  Museum 
to  show  this  tendency,  but  of  Giovanni  Bellini  we 
find  a  "Baptism  of  Christ"  (No.  4),  which  has 
been  so  terribly  restored  that  little  remains  of 
Bellini's  rich  palette.  The  figures  are  enveloped 
by  the  twilight  of  a  southern  sky,  faintly  illumi- 
nating the  far-off  mountains.  Only  the  Christ  and 
the  figure  of  John  are  touched  by  the  warm  eve- 
ning light. 

That  Diirer  after  his  visit  to  Venice  pronounced 
Bellini  to  be  "  the  best  painter  of  Venice,"  although 
he  had  seen  the  work  of  Titian,  only  proves  that 
artists  are  generally  poor  critics.  Still  Giovanni 
Bellini,  with  the  single  exception  of  Titian,  must 
be  regarded  as  the  greatest  master  the  Venetian 
school  has  produced.  In  all  his  long  life  of  ninety 
years  he  painted  under  the  inspiration  of  a  genius 
that  seemed  to  have  owed  little  to  scientific  or 
theoretical  knowledge.  His  sense  of  colour  was 
inborn,  as  the  muse  is  with  the  poet  or  the  musi- 
cian; and  he  played  with  the  colour  gamut  as  a 
great  composer  with  the  scales.  He  discovered  the 
romance  of  colour  as  well  as  the  secrets  of  har- 
mony and  of  transitions,  and  the  mode  of  employ- 
ing single  tones  with  the  greatest  effect  of  beauty. 
In  his  work  colour  attained,  if  not  its  highest  truth 
of  nature,  at  all  events  its  greatest  intensity  and 
transparency.     But  with   all  the  pomp  of  beauty 


38      Ubc  Hrt  of  tbc  IDtenna  Galleries 

and  voluptuous  luxury  of  his  colour  he  never  left 
the  splendid  severity  and  the  generous  austerity  of 
earlier  traditions. 

It  is  unfortunate  that  the  catalogue  casts  doubt 
upon  another  panel,  a  ''  Young  Woman  arranging 
her  Hair''  (No.  13),  signed  by  Bellini,  which  it 
credits  to  his  pupil  Francesco  Bissolo,  accusing 
him  of  having  forged  the  signature.  This  beauti- 
ful Venus  is  far  too  exquisite,  both  in  modelling 
and  colour,  to  have  come  from  the  hand  of  this 
insignificant  pupil.  It  is  known  that  Bellini,  even 
after  he  had  passed  his  eightieth  year  —  and  this 
painting  is  dated  1515  —  executed  work  that  was 
filled  with  the  fire  of  his  youth. 

Bellini's  younger  rival,  Alvise  Vivarini,  could  not 
quite  reach  the  talents  of  the  older  master,  although 
he  exercised  great  influence  on  the  younger  men, 
especially  on  his  most  talented  pupil  Lorenzo  Lotto. 
In  Alvise's  "  Mary  and  the  Child"  (No.  12),  with 
two  angels  playing  musical  instruments,  we  find 
the  colours  lighter  and  louder,  while  the  sitting 
angels  are  also  less  restful  than  we  note  in  Bellini's 
manner.  The  work  is  by  no  means  as  important 
as  Alvise's  large  altarpieces  that  are  found  in 
Venice.  Religious  severity  and  asceticism  marked 
the  school  of  Alvise,  even  after  the  Bellini  had 
become  paganised. 

A  magnificent  work,  in  tempera,  is  found  here 


XCbe  Umperial  /iDuseum  39 

by  Cima  de  Conegliano,  who  was  influenced  by 
both  his  predecessors.  His  "  Madonna  under  the 
Orange-tree''  (No.  19)  is  a  significant  composi- 
tion. Mary  is  seated  on  a  rocky  throne;  on  her 
right  stands  St.  Louis,  and  on  her  left  St.  Jerome, 
while  Joseph  with  a  donkey  is  visible  at  the  foot 
of  a  hill  crowned  by  a  castle.  The  finely  pencilled 
landscape  displays  the  artist's  love  for  animated 
nature  in  picturing  fowls,  hare  and  deer,  plants 
and  trees.  It  was  an  altarpiece  which  the  artist 
painted  for  the  Church  of  Santa  Chiara  in  Murano. 

Trained  in  the  same  school  was  the  Greek  Marco 
Basaiti,  from  whom  we  find  a  smaller  replica  of 
the  artist's  large  painting  which  is  now  in  the 
Academy  at  Venice.  It  represents  "  The  Call  of 
the  Sons  of  Zebedaeus "  (No.  1),  where  Christ, 
surrounded  by  his  first  disciples,  finds  James  and 
John  ready  to  follow  Him,  as  they  hurriedly  step 
from  their  vessel  on  the  shore  of  the  Galilean 
lake. 

Another  of  the  more  talented  pupils  of  Giovanni 
Bellini  —  we  need  not  tarry  before  the  work  of 
Francesco  Bissolo  (No.  15),  or  of  Andrea  Pre- 
vitali  (No.  14)  — was  Vincenzo  Catena,  who  later 
became  strongly  influenced  by  Giorgione.  We  find 
here  a  characteristic  portrait  of  an  "  Old  Man  with 
a  Book  "  (No.  20).  A  much  finer  work  by  Catena 
is  found,  however,  in  the  Berlin  Museum. 


40      XLbc  art  of  tbe  IDienna  ©alleries 

Although  the  Museum  does  not  possess  a  work 
of  Gentile  Bellini,  as  has  been  stated,  still  we  find 
his  most  prominent  pupil,  Vittore  Carpaccio,  repre- 
sented by  a  painting  that  clearly  indicates  the 
diverging  tendencies  of  the  Bellini  brothers.  Car- 
paccio shows  a  "Risen  Christ''  (No.  7),  adored 
by  virgin-like  angels.  If  we  compare  this  work 
with  Giovanni  Bellini's  *'  Baptism  of  Christ,"  of 
which  I  have  spoken,  we  see  there  the  glow  of 
jewels  in  the  gloom  of  twilight  —  here  we  see 
bright  sunshine  wherein  the  colours  blend  them- 
selves. 

Carpaccio  may  be  considered  as  the  earliest 
Italian  master  of  genre;  and  as  the  minstrel,  the 
tale-teller  he  has  had  no  superior  in  the  school  of 
Venice.  He  delighted  to  depict  the  Venice  he 
loved  so  much,  its  external  aspects,  as  well  as  its 
more  intimate  relations,  the  splendour  of  its  fetes, 
and  the  varied,  vivid,  luxurious  and  glowing  life 
of  its  people.  He  was  essentially  a  romantic 
painter,  and  even  in  his  religious  subjects  he  charms 
with  the  liveliness  of  his  fancy.  Yet  is  his  piety 
unaffected  and  his  gaiety  is  steadied  by  a  flavour 
of  sincere  earnestness. 

Two  other  canvases,  marked  in  the  catalogue 
as  by  Carpaccio  (Nos.  8  and  11),  have  with  good 
reason  been  assigned  by  Berenson  to  Gentile's 
weaker  pupil,  Lazzaro  Bastiani. 


Ube  irmperial  jflDuseum  41 

With  the  beginning  of  the  16th  century  a  de- 
cided change  is  taking  place  in  what  may  best  be 
called  the  art-motif  of  the  Venetian  painters.  It 
is  no  longer  religion,  although  the  religious  sub- 
ject is  still  largely  used.  But  the  object  of  art 
becomes  now  frankly  the  representation  of  material 
beauty,  the  seeking  for  effects  of  line,  light  and 
colour   for  mere  sensuous  and  pictorial  purpose. 

The  most  positive  in  influence  upon  his  contem- 
poraries in  this  direction  was  Giorgio  Barbarelli 
da  Castelfranco,  called  Giorgione.  He  is  repre- 
sented here  by  two  fine  paintings,  and  a  third, 
which  the  catalogue  surmises  to  belong  to  Correggio, 
has  by  Dr.  Gustav  Ludwig  been  also  ascribed  to 
the  Castelfranco  master. 

No.  16  bears  the  title  of  ''The  Three  Eastern 
Sages,"  but  Wickhoff  sees  in  it  a  scene  from  the 
VIII  Book  of  Virgil's  Aeneid  —  with  great  proba- 
bility, for  this  canvas  hung  with  a  pendant,  called 
"  Aeneas  in  Purgatory,"  in  the  house  of  Taddeo 
Contarini  in  Venice  in  1525.  According  to  Wick- 
hoff, then,  we  see  here  the  Trojan  Aeneas  in 
oriental  costume,  with  white  turban  and  purple 
coat,  showing  to  King  Evander,  in  amber-coloured 
mantle  with  ruby-coloured  hood,  the  place  where 
the  Capitol  was  to  be  erected;  while  the  King's 
son,  Pallas,  in  green  drapery  and  white  shirt,  is 
seated  not  far  off,  already  with  geometric  figures 


42       XEbe  Htt  of  tbe  IDienna  ©alleties 

making  calculations  for  the  foundations.  The 
characterful  bearing  of  the  men,  the  beautiful  land- 
scape with  its  great  moss-grown  rock  and  dark 
tree-trunk  in  the  foreground,  and  the  warm  har- 
mony of  colour  with  a  golden  tone,  make  this  a 
painting  of  striking  significance. 

Nothing  is  known  of  Giorgione  but  that  he  loved 
music  and  women;  and  only  a  few  paintings,  not 
a  score  in  all,  are  absolutely  known  to  be  from 
his  hand,  the  best  of  which  is  a  magnificent  Ma- 
donna with  Saints,  in  the  church  of  Castel franco. 
Our  canvas,  however,  supported  by  oldest  pro- 
venance, is  among  the  most  authoritatively  ascribed 
paintings  of  the  great  master. 

We  find  likewise  his  hand  in  No.  63,  which  the 
catalogue  surmises  to  be  by  Correggio,  as  already 
stated.  It  bears  the  title  "  St.  Sebastian,"  but 
Ludwig  and  Wickhoff  call  it  an  Apollo.  No  other 
Venetian  but  Giorgione  —  and  Palma  Vecchio, 
Lorenzo  Lotto,  and  Cariani  have  been  named  — 
could  have  painted  this  dreamish  head,  surrounded 
by  its  rich  haircovering.  Also  No.  23,  an  "  Adora- 
tion of  the  Shepherds,"  if  indeed  a  studiowork, 
bears  traces  of  the  master's  own  hand. 

Giorgione's  place  in  Venetian  art  is  one  of  transi- 
tion from  the  older  manner  of  the  deeply  relig- 
ious, even  austere  painting  of  Giovanni  Bellini 
to  the  final,  humanistic  manner  of  the  most  com- 


XEbe  irmperfal  /IDuseum  43 

plete  master  of  all,  Titian.  He  influenced  both 
his  master  Bellini  and  his  pupil  Titian  by  the  re- 
fined poetry  of  his  style.  Without  much  grasp  of 
the  intellectual,  and  with  Httle  of  the  devotional 
spirit,  he  surcharged  his  contemporaries  in  the  few 
years  of  his  active  life  with  a  subtle  feeling  of 
beauty  for  its  own  sake.  Notably  in  his  land- 
scape with  figures,  already  advanced  by  Bellini,  did 
he  succeed  in  giving  a  perfect  blend  of  nature  and 
human  nature  in  which  few  have  equalled  him  and 
none,  excepting  perhaps  Titian,  has  ever  surpassed 
him.  And  no  man,  not  even  Leonardo,  Raphael, 
Titian,  or  Michelangelo,  has  stamped  his  spirit,  the 
Giorgionesque,  so  markedly  upon  the  works  of 
those  that  came  after  him  as  the  poet-painter  of 
Castel  franco. 

The  greatest  of  the  masters  of  the  first  half  of 
the  16th  century  owe  much  to  Giorgione's  influence. 
The  youngest  of  these,  Sebastiano  del  Piombo,  who 
left  Venice  to  go  over  to  the  Roman  artist-circle, 
shows  here  a  bust  of  "Cardinal  Pucci "  (No.  17) 
in  middle  age.  It  is  a  strong,  speaking  portrait, 
and  one  of  the  finest  likenesses  of  men  the  artist 
has  produced. 

The  "Portrait  of  a  Youth"  (No.  22),  which 
has  had  many  attributions  —  the  catalogue  suggests 
Jacopo  de'  Barbari  —  has  more  recently  been  cred- 
ited as  an  early  work  by  Lorenzo  Lotto,  of  whom 


44      XCbe  Hrt  of  tbe  IDienna  (Balletfes 

I  will  speak  when  we  see  his  greater  work  in  the 
next  gallery.  It  bears  a  strong  resemblance  in 
style  to  an  early  work  by  Lotto,  now  in  the  Naples 
Museum,  the  portrait  of  Fra  Bernardo  dei  Rossi. 

Entering  now  the  Second  Gallery  we  find  no 
less  than  twelve  examples  by  Palma  Vecchio,  six  of 
which  are  bust  portraits  of  young  women.  Palma 
obtained  a  characteristic  individuality  in  these  al- 
most ideal  heads.  Plate  V  presents  one  of  these 
(No.  143),  a  lady  with  ash-blond  hair,  her  volumi- 
nous dress  of  brownish  striped  stuff  with  a  bro- 
caded front.  Equally  important  is  No.  137,  the 
so-called  "  Violante,''  who  was  a  favoured  model 
of  the  day  in  Venice,  as  her  features  frequently 
occur  on  the  canvases  of  both  Palma  and  Titian. 
The  face  is  delicately  drawn,  her  complexion  is  of 
dazzling  purity,  her  eyes  dark,  and  her  flowing, 
wavy  hair,  confined  by  a  narrow  ribbon,  is  of  that 
peculiar  golden  hue  affected  by  the  beautiful  women 
of  Venice,  and  which  Palma's  brush  was  so  skilful 
in  rendering.  The  other  portraits  are  fully  as  in- 
teresting, with  varying  poses  and  colour  schemes. 
Some  of  these,  however,  are  much  damaged  by 
over-zealous  cleaning,  so  that  their  beautiful  glazes 
are  for  ever  lost. 

Jacopo  Palma  Vecchio,  signifying  the  old,  or 
elder,  to  distinguish  him  from  his  grand-nephew 
of  the  same  name,  who  is  known  as  Palma  Giovine, 


PALM  A 
VECCHIO 


PORTRAIT    OF    A    LADY 
Plate  V 


Impefial 
Museum 


Zbc  IFmperial  /IDuseum  4S 

or  the  younger,  was  born  in  Bergamo,  but  went  to 
Venice  when  very  young,  and  spent  there  the  re- 
mainder of  his  life.  With  Titian  he  was  a  pupil 
of  Giovanni  Bellini,  but  his  work  bears  stronger 
evidence  of  the  influence  of  both  Titian  and  Gior- 
gione,  as  well  as  of  Lorenzo  Lotto,  whom  he  in 
turn  influenced. 

Judicious  criticism  cannot  place  Palma  beside  the 
giants  of  Venetian  art,  Giorgione,  Titian,  Tinto- 
.retto,  Veronese;  although  he  did  much  to  popu- 
larise the  new  thought  in  painting.  This  was, 
however,  more  as  a  follower  than  as  an  initiator. 
His  landscapes  are  of  an  exquisite  beauty,  and  a 
serene  and  cheerful,  though  never  a  very  animated, 
spirit  pervades  his  scenes.  His  drawing  is,  how- 
ever, less  correct,  as  is  especially  seen  when  he 
essayed  the  nude,  which  was  rarely  the  case.  Still, 
his  conception  of  the  nude  was  quite  as  elevated 
as  with  the  greater  masters.  As  a  colourist  Palma 
has  his  own  position.  He  laid  his  colours  on  thinly 
—  only  in  the  light-places  are  they  loaded  —  and, 
having  obtained  his  effects  by  means  of  glazing, 
he  obliterated  all  strokes  of  the  brush  accord- 
ing to  the  delicate  manner  of  Titian  in  his  early 
youth. 

Of  the  genre  pieces  by  Palma  which  we  find 
here.  No.  140,  in  which  Mary  with  the  Child  is 
surrounded  by  John  the  Baptist,   St.  Barbara,  St. 


46      XTbe  Hrt  ot  tbe  IDienna  ©alleries 

Catharine,  and  St.  Celestine,  excels  above  all.  It 
is  a  presentation  of  the  sacra  conversazione  which 
became  peculiar  to  Venetian  art.  Slightly  less  har- 
monious in  colour  is  the  "  Homecoming  of  Mary  " 
(No.  139),  although  the  vivacity  of  movement  of 
the  meeting  women  must  be  regarded. 

A  follower  of  Giorgione's  mythological  genre  is 
found  in  Bonifacio  Veronese,  witnessed  by  No. 
156,  "The  Triumph  of  Purity  over  Love,''  and 
by  No.  201,  '*The  Triumph  of  Love.''  In  the 
first  we  see  a  wagon,  drawn  by  four  unicorns, 
on  which  are  seated  Laura,  Penelope,  and  Lu- 
cretia,  with  Cupid  bound  at  their  feet.  The 
wagon  is  surrounded  by  persons  who  withstood 
the  enticements  of  love,  as  Socrates,  Scipio, 
Joseph,  the  son  of  Jacob,  and  Judith,  carry- 
ing the  head  of  Holofernes.  The  pendant  to  this 
canvas,  it  must  be  said,  is  given  with  greater  ani- 
mation. The  blind  god  of  love  is  enthroned  on 
a  chariot,  drawn  by  four  white  horses.  Even 
Jupiter  sits  captive  at  his  feet,  while  those  who 
were  wounded  by  the  amorous  darts  surround  the 
chariot.  Orpheus  holds  gently  the  fainting  Eu- 
rydice,  Ganymede  looks  up  to  Father  Zeus,  Mars 
and  Venus,  Apollo  and  Daphne,  Medea  and  Jason, 
Helen  and  Paris,  even  Aristoteles  with  Phryne 
fail  not. 

A  "Daughter  of  Herodias  "  (No.  145),  also  by 


XEbe  llmperial  /iDuseum  47 

Bonifacio,  presents  Salome  in  conventional  atti- 
tude. A  *' Portrait  of  a  Young  Woman''  (No. 
157),  catalogued  as  by  Bonifacio,  has  by  Berenson 
been  ascribed  to  F.  Beccaruzzi,  who  painted  in  the 
style  of  Pordenone,  often  also  imitating  Titian  and 
Lotto. 

The  Vienna  Museum  excels  in  its  presentation 
of  the  work  of  Tiziano  Vecellio.  No  other  museum 
can  boast  of  as  wide  a  survey  of  this  master's 
work  in  all  his  periods.  Almost  a  score  of  un- 
doubted works  of  the  great  Venetian  are  found 
here,  and  as  many  more  that  were  finished  by  his 
hand  and  go  by  his  name,  or  are  faithful  copies 
of  his  composition.  Truly  this  Second  Gallery  is 
dominated  by  his  genius. 

Titian's  earliest  work  here,  still  in  the  style  of 
Giorgione,  who  greaty  influenced  him  after  he  left 
Giovanni  Bellini's  studio,  is  the  so-called  "  Gypsy 
Madonna"  (No.  176).  This  painting  of  Mary 
and  the  Child,  both  with  down-cast  eyes,  already 
foreshadows  the  wonderful  splendour  that  is  to 
come.  On  the  left,  forming  a  background  to  the 
figures,  is  a  silken  curtain,  to  the  right  a  rolling 
landscape. 

Also  comparatively  early  is  No.  180,  the  "  Ma- 
donna with  the  Cherries"  (Plate  VI).  It  is  a 
Bellini  composition,  when  we  compare  it  with 
paintings   in   the   Venetian    Academy   and    in    the 


48      Ube  Hrt  of  tbe  IDienna  ©alleries 

Prado,  but  carried  out  to  marvellous  perfection. 
Over  the  golden  tone  of  Bellini  lies  a  purple  shim- 
mer. It  seems  as  if  rubies,  emeralds  and  turquoises 
glow  through  the  colours.  The  Madonna  has 
handed  the  Child  some  ripe  cherries,  but  Jesus  will 
first  have  his  mother  taste.  Joseph  on  the  one 
side  is  interested  in  the  artless  play,  while  Zacharias 
looks  down  on  the  cherubic  John  who  wants  to 
take  part 

Titian  painted  the  *' Ecce  Homo"  (No.  178) 
when  he  had  arrived  at  the  full  maturity  of  his 
power,  in  1543.  He  himself  considered  it  one  of 
his  masterpieces,  for  he  proudly  signed  it  in  full, 
Titianus  Eques  fet  —  he  had  been  knighted  by  the 
Emperor  Charles  V.  The  composition  is  master- 
ful in  its  cutting  loose  from  geometric  rules,  to 
which  Bellini  always  adhered.  The  principal  figure, 
the  Christ,  stands  on  the  extreme  left,  only  sub- 
sidiary figures  in  the  middle,  on  the  right  the 
embittered  mob  of  his  enemies;  yet  all  is  so  drawn 
together  by  the  play  of  light  and  shade,  by  the 
colour-harmony,  that  nothing  disturbs  the  unity  of 
the  ensemble. 

Famous  among  the  mythological  compositions  of 
Titian  is  the  "  Danae "  (No.  174),  receiving  in 
her  lap  the  golden  rain  of  Jupiter  —  an  unrivalled 
nude-painting  of  supple  richness  and  splendour. 
The  authenticity  has  been  attacked  by  Berenson, 


Ube  Umperial  /iDuseum  49 

but  with  little  reason.  The  signature  is,  however, 
a  forgery. 

The  charming  Httle  ''Tambourine  Player"  (No. 
181),  and  the  gracious  Allegories  (Nos.  173  and 
187)  — their  meaning  is  not  quite  clear  —  are  de- 
lightful genre  pieces.  These  may  well  have  been 
first  studies  for  the  larger  Allegories  in  Munich 
and  Paris.  One  of  the  latest  works  is  his  "  Nymph 
and  Shepherd''  (No.  186),  where  the  half-draped 
nude  figure  lies  on  a  panther  skin,  slightly  turning 
her  head  to  listen  to  the  pipe-playing  shepherd 
seated  behind  her.  Here  we  find  a  peculiarity 
which  is  seen  also  in  Rembrandt's  latest  work  — 
a  slight  sketchiness  in  detail,  notably  here  in  the 
landscape;  a  feeling  as  if  all  need  not  be  said  if 
the  power  of  life,  the  vital  elements  of  light  and 
movement  are  assured. 

Titian  stands  among  the  first  of  portrait  paint- 
ers. Only  Hals  and  Velasquez,  Rubens  and  Rem- 
brandt can  be  compared  with  him  in  the  rendering 
of  the  human  countenance  as  vital  presentments. 
No  less  than  ten  portraits  are  found  here. 

Who  does  not  know  that  wonderful  portrait  of 
the  "Girl  in  Fur"  (No.  197)?  It  represents 
Eleanora,  the  beautiful  daughter  of  Isabella  d'Este, 
of  whom  there  is  also  a  portrait  (No.  163),  which 
Titian  painted  in  1534,  after  an  earlier  sketch. 
Eleanora,   later   Duchess   of   Urbino,   excelled   in 


so      Ube  art  of  tbe  IDienna  Galleries 

physical  beauty  and  mental  qualities,  and  frequently 
inspired  the  master,  for  portraits  of  her  are  also 
in  the  Pitti,  in  the  Uffizi,  and  in  the  Tribuna  at 
Florence  as  Venus.  The  striking  appearance  of 
the  delicate  body  from  the  folds  of  the  enshroud- 
ing dark  mantle,  the  chaste  girlishness  of  the 
features,  and  the  subdued  splendour  of  the  colour- 
scheme,  make  this  a  portrait  of  lasting  impression. 

But  while  the  master  infuses  the  delicacy,  the 
charm  of  femininity  in  his  female  portraits,  he  sig- 
nalised the  strength  of  character  in  his  male  counter- 
feits. Look  at  his  Jacopo  de  Strada  (No.  182),  the 
Imperial  antiquary;  at  the  Filippo  Strozzi  (No. 
154),  the  proud  Florentine  patrician;  at  the  Elector 
Johann  Friedrich  of  Saxony  (No.  191),  a  hero 
through  his  unbending  will  —  all  these  proclaim  the 
power  of  dominion.  With  gentler  brush  he  depicted 
Benedetto  Varchi  (No.  177),  the  renowned  poet 
and  historian  of  Florence.  "  St.  James  "  (No.  162) 
and  a  "  Young  Priest ''  (No.  165)  are  supposed  by 
Crowe  and  Cavalcaselle  to  have  been  originally  a 
double  portrait  of  Ranuccio  Farnese  with  his  teacher 
Leoni.  Also  the  portraits  of  Fabrizio  Salvaresio 
(No.  150)  and  of  Titian's  physician  Parma  (No. 
167)  are  characteristic  and  representative  of  the 
painter's  mastery  over  life. 

There  is  no  greater  name  in  Italian  art  than  that 
of  Titian.     Rounded  completeness,  teres  at  que  ro- 


Ube  Umperfal  /iDuseum  51 

fundus,  as  Vasari  expressed  it,  is  what  stamps  Titian 
as  a  master  among  masters.  Other  painters  may- 
have  equalled  him  in  single  qualities;  personal 
preference  may  even  vaunt  the  peculiar  perfections 
of  different  favourites  above  the  master  in  some 
special  branch  —  we  must,  after  all  is  said,  still  turn 
to  Titian  and  accord  him  the  palm  for  excellence 
in  all.  Whether  we  take  his  portraits,  his  land- 
scapes, his  religious  subjects,  or  his  drawing,  his 
colour,  his  light-management,  in  all  he  is  the  legiti- 
mate master  of  the  brush,  second  to  none. 

It  remains  yet  to  point  out  the  works  which  be- 
long to  Titian's  studio,  either  finished  by  him,  or 
copies  of  his  work.  The  ''  Mary  with  the  Child 
and  Sts.  Jerome,  Stephen  and  George"  (No.  166) 
is  a  studio-copy  of  the  famous  original  in  the 
Louvre;  and  the  "Holy  Family  with  the  little  St. 
John  and  St.  Catharine"  (No.  149)  is  a  changed 
repetition  of  a  painting  now  in  the  National  Gallery 
in  London,  possibly  by  Andrea  Schiavone.  Although 
the  "Christ  and  the  Adulteress"  (No.  161)  is  an 
unfinished  work,  and  presumably  only  painted  after 
Titian's  design,  it  still  bears  this  mark  of  the  mas- 
ter's inventive  genius,  and  also  indubitable  traces 
of  his  own  handiwork.  So  is  "  Christ  with  the 
Earth-globe"  (No.  164)  after  Titian's  design,  but 
not  well  enough  painted  to  have  been  executed  by 
him.     His  own  carrying  out  of  this  conception  is 


52      TLbc  Hrt  ot  tbe  IDienna  (Balleries 

found  in  the  Hermitage  at  St.  Petersburg.  The 
"Burial  of  Christ"  (No.  179),  although  signed 
by  Titian,  can  only  have  received  his  finishing 
touches.  It  is  a  replica  of  an  original  in  the 
Louvre.  The  "Self-portrait''  (No.  196)  is  a  copy 
after  the  original  in  Dresden.  And  still  a  half 
score  of  other  paintings  in  this  gallery  bear  the 
impress  of  the  master's  workshop. 

Titian's  pupil  and  closest  imitator,  although  by 
no  means  of  surprising  talent,  v^as  Andrea  Meldolla, 
called  Schiavone,  by  v^hom  a  score  of  paintings 
are  found  here.  The  smaller  ones  were  decorations 
for  cassone  fronts.  Many  of  these  are  interesting 
because  they  give  a  genre-like  presentation  of  con- 
temporary Venetian  life. 

Paris  Bordone,  another  one  of  Titian's  pupils, 
was  of  greater  importance,  but  four  mythological 
scenes  and  two  female  portraits  still  proclaim  him 
to  be  of  secondary  rank.  His  "  Venus  and  Adonis  " 
(No.  253),  in  which  Venus  holds  the  weapons  of 
her  lover,  as  they  sit  under  the  tree,  being  crowned 
by  a  floating  Cupid,  is  a  better  treatment  of  the 
subject  than  that  found  in  the  London  National 
Gallery  under  the  title  "  Daphnis  and  Chloe."  A 
large  "Conflict  of  Gladiators"  (No.  238)  reminds 
one  of  Titian's  composing,  and  was,  as  Vasari  states, 
painted  for  the  city  of  Augsburg  in  Germany. 

A  painter  who  was  as  unique  in  his  way  as  Titian, 


Ubc  Ifmperial  /©useum  53 

or  Michelangelo,  or  Rubens,  was  Jacopo  Robusti, 
called  Tintoretto,  the  son  of  a  dyer  of  silk  (tintore), 
whose  only  known  schooling  was  for  ten  days  in 
Titian's  studio;  after  which  he  developed  himself 
under  the  device  which  he  blazed  in  his  studio,  ""  il 
disegno  di  Michelangelo,  il  colorito  di  Tizianof' 
His  was  the  most  vigorous  and  most  prolific 
artistic  temperament  that  has  ever  existed.  He  be- 
came an  improvisator  by  the  very  force  of  his 
impetuosity;  and  the  phenomenal  energy  with 
which  he  painted  gave  him  the  name  ''  il  furioso/' 

The  volume  of  Tintoretto's  work  far  exceeds 
that  of  any  other  Italian.  Huge  canvases  hang  in 
the  church  of  II  Redentore,  in  the  Scuola  di  San 
Rocco,  in  the  church  of  Santa  Maria  dell'  Orto,  in 
the  Academy  and  the  Doge's  Palace  in  Venice,  as 
well  as  in  numberless  other  places.  And  in  all  these 
we  see  facility  and  luxuriousness  of  invention,  bold- 
ness and  ease,  a  natural  impulsiveness  of  tempera- 
ment, instant  and  spontaneous  creation  forced  by 
the  necessity  of  expression  and  satisfaction  in  the 
rendering  of  ideas. 

Yet,  his  very  facility  has  injured  his  reputation. 
His  genius  seems  to  have  urged  him  on  to  produce 
so  much  that  he  often  neglected  to  bring  his  work 
to  the  perfection  of  which  he  was  capable.  Too 
often  his  aim  seems  merely  to  fill  his  enormous 
canvases  without  much  care  as  to  how  he  filled 


54      ^be  Hrt  of  tbe  IDienna  Galleries 

them;  and  Annibale  Carracci  truly  said  of  him, 
"  Tintoretto  is  often  inferior  to  Tintoretto." 

The  most  striking  quality  of  his  work  is  the 
turbulent,  often  convulsive  movement  of  the  figures 
by  which  he  renders  the  instantaneousness  of  mo- 
tion, even  the  swiftness  of  flight,  as  no  one,  save 
Rubens,  has  ever  done.  But  thereby  they  lack  the 
magisterial  quality  of  the  figures  of  Titian,  or  the 
imposing  force  of  those  of  Michelangelo.  This 
irregular,  almost  spasmodic  explosiveness  is  also 
seen  in  his  colour,  where  violent  contrasts  of  light 
and  dark  are  given  with  impassioned  audacity. 
The  variety,  brilliancy,  and  indescribable  glamour 
of  his  light  as  juxtaposed  to  the  tormenting  gloom 
of  his  shade  shows  an  excess  of  exuberance  which, 
however  dramatic,  is  somewhat  fatiguing,  often 
even  painful.  The  treatment  of  chiaroscuro  is  with 
Tintoretto  a  most  powerful,  dramatic  accessory; 
yet,  it  cannot  compare  with  the  handling  of  those 
greatest  masters  of  chiaroscuro,  Correggio  and 
Rembrandt.  With  Correggio  light  is  an  irradiating 
presence,  with  Rembrandt  it  is  a  penetrating  mys- 
tery—  with  Tintoretto  a  pictorial  adjunct. 

But  sometimes  Tintoretto  forewent  the  region  of 
the  vast,  tempestuous,  and  tragic,  and  then  we  find 
that  this  fiery  genius  could  with  equal  mastery  pierce 
and  irradiate  the  placid  and  tender  secrets  of  the 
soul,  and  give  in  pure  and  limpid  flow  a  gentle 


XCbe  Ifmperial  jflDuseum  55 

scene  of  sensuous  delight.  In  this  spirit  he  painted 
the  "  Bacchus  and  Ariadne/'  in  the  Doge's  Palace, 
"  Adam  and  Eve/'  in  the  Venice  Academy,  and 
here  in  the  Vienna  Museum  *'  Susannah  and  the 
Elders"  (No.  239),  a  most  perfect  lyric  of  the 
sensuous  fancy  from  which  sensuality  is  absent. 
Rarely  has  the  play  of  light  on  the  softly  modelled 
body,  without  any  half -shadows,  been  given  with 
such  wonderful  virtuosity.  Susannah  is  just  leav- 
ing her  bath,  and  has  not  detected  the  elders  —  one 
grey-head  bending  around  the  rosehedge  that  shields 
her.  She  is  still  unconscious  of  their  nearness,  and 
is  ornamenting  herself  with  rich  jewels. 

Of  his  many  mythological  subjects  we  find  here 
*' Apollo  and  the  Muses"  (No.  241),  somewhat 
sketchy,  but  full  of  charm  and  expression.  The 
nine  Muses  are  gathered  at  the  border  of  the 
Hippokrene,  playing  on  musical  instruments,  while 
Apollo,  with  lyre  and  bow,  floats  above  in  the  hol- 
low of  a  cloud.  The  Dresden  Gallery  has  a  some- 
what similar  composition.  "Lucretia"  (No.  234) 
was  formerly  ascribed  to  Titian,  but  it  is  doubtful 
whether  it  even  belongs  to  Tintoretto,  to  whom  it 
is  now  given,  as  it  lacks  that  vital  expression  which 
we  always  find  in  his  work. 

The  drawbacks  which  I  have  enumerated  against 
an  unqualified  approval  of  Tintoretto's  art  do  not 
refer  to  his  portraiture.    There  is  no  question  made 


56      Ube  Hrt  ot  tbe  Dienna  ©allertes 

of  his  high  rank  as  a  portrait  painter.  While  in 
Titian's  portraits  we  are  to  recognise  the  type  of 
the  persons  he  depicts,  in  Tintoretto's  we  find  more 
the  individuaHty  of  the  sitter  portrayed,  in  which 
respect  he  may  well  be  ranked  with  Diirer  and 
Rembrandt.  *  A  half  dozen  of  these  portraits  are 
hanging  in  this  gallery  and  claim  our  admiration. 
No.  250,  a  knee-piece  of  a  man  of  thirty-five  years, 
with  dark  hair  and  beard,  standing  at  a  table,  is 
the  most  impressive  with  its  fiery  mien,  high  fore- 
head and  sunken  eyes.  The  portrait  of  a  young 
man  (No.  258)  is  an  early  work. 

Jacopo's  son,  Domenico  Tintoretto,  closely  fol- 
lowed his  father's  footsteps  and  their  paintings  are 
often  confused.  But  he  failed  to  reach  the  height 
of  his  father's  management  of  light,  colour,  and 
form.  Over  a  dozen  of  his  paintings,  some  large 
figure  compositions,  others  portraits,  are  indicated 
on  the  tablets,  but  need  not  occupy  us  further. 

In  the  second  half  of  the  16th  century  there  were 
a  number  of  painters  who  found  their  training  in 
Venice,  but,  settling  in  their  native  places,  retained 
local  characteristics.  From  this  have  resulted  'the 
schools  of  Brescia,  of  Vicenza,  of  Bergamo.  We 
may  not  tarry  before  the  large  number  of  canvases 
which  represent  here  these  numerous  artists,  but 
must  confine  ourselves  to  the  principal  works. 

One  of  the  leading  artists  of  the  school  of  Brescia 


i    ' 

4            /        ' 

*^     ^fWlt 

^^L  ^$<^* 

iM 

HK^WB^P 

K^^^BH 

^^^Hjf^^=    '^ 

1 

^^^K^^fl 

H 

1 

ALESSANDRO 
BONVICINO 


ST.    JUSTINA 
Plate  VII 


Imperial 

Museum 


Ubc  IFmpetial  /IDuseum  57 

in  the  beginning  of  the  16th  century  was  Giovanni 
Girolamo  Savoldo,  an  interesting  personality,  be- 
cause we  find  in  his  work  the  experiments  of  the 
juxtaposition  of  light  and  shade,  which  were  brought 
to  perfection  by  Rembrandt.  This  is  evident  in 
his  imaginative  portrait  of  "  Aristoteles ''  (No. 
213),  where  the  face,  the  hands,  and  the  green 
blouse  of  the  middle-aged  man  are  artfully  lighted. 
An  early  work,  possibly  a  study  for  the  larger 
painting  in  the  church  of  S.  Rocco,  at  Venice,  is  his 
"Burial  of  Christ"  (No.  208).  Here  the  artist 
surrounds  the  figures  of  Joseph  of  Arimathea,  the 
Maries,  and  John  with  a  soft,  mysterious  light  that 
plays  tenderly  over  the  body  as  it  lies  on  the  stone 
slab. 

The  greatest  artist  of  this  provincial  school  of 
Brescia  was  undoubtedly  Alessandro  Bonvicino, 
called  Moretto,  although  not  all  of  his  works  are 
of  equal  strength.  The  "St.  Justina "  (No.  218. 
Plate  VII)  is,  however,  the  finest  known  example 
of  his  brush.  The  picture  has  been  much  written 
about,  and  has  even  been  the  foundation  of  a 
German  novel.  The  Saint,  whose  features  are  of 
a  distinguished  and  delicate  beauty,  looks  with 
gentle  benevolence  down  upon  the  donor  who  is 
kneeling  at  her  left.  At  her  feet  lies  a  white 
unicorn  as  an  emblem  of  maidenly  purity.  There 
is  nothing  more  to  be  desired  in  this  painting  — 


58      XTbe  Hrt  ot  tbe  IDienna  Galleries 

so  perfectly  composed,  of  such  beautiful  colour 
harmony,  and  in  which  pure,  human  characteristics 
are  so  tenderly  depicted. 

The  curious  thing  about  Moretto  is  that,  despite 
the  Venetian  influences  that  had  surrounded  him 
in  his  schooldays,  he  chose  to  go  back  to  his  Brescia 
in  the  hills  and  paint  quite  in  his  own  manner,  in 
cool,  silvery  tones,  entirely  different  from  the  hot 
gold  of  Venice.  This  personal  colour  was  arrived 
at  by  his  underpainting  with  a  cool  grey,  made  of 
black  and  white  —  a  technical  peculiarity  which  he 
seems  to  have  in  common  with  the  great  Dutchman 
Vermeer  van  Delft,  but  the  latter  also  used  a  bluish 
undercolour. 

Girolamo  Romanino  was  another  Brescian  of 
whom  we  find  here  a  female  "Portrait"  (No. 
219).  His  style  was  softer  and  less  incisive  than 
that  of  Moretto,  and  his  figures  are  heavier,  with 
less  of  that  aristocratic  charm  which  Bonvicino 
conveyed. 

The  painters  of  Bergamo  had  less  of  local  char- 
acter than  those  of  Brescia.  Their  works  are  more 
closely  related  to  those  of  their  Florentine  or 
Venetian  masters,  ofttimes  resulting  in  confusion. 
Thus  we  find  some  works  of  Giovanni  Busi,  called 
Cariani,  ascribed  to  Giorgione,  others  to  Carpaccio. 
His  "Bravo''  (No.  207)  is  considered  one  of  his 
best   works.      A   young   man,    crowned   with   vine 


TLbc  irmpedal  /iDuseum  59 

leaves,  is  being  attacked  from  behind  by  an  assassin 
who  conceals  his  weapon  behind  his  back.  Two 
other  figure-pieces  (Nos.  205  and  206)  are  also 
from  his  hand. 

A  far  deeper  and  more  talented  artist  was 
Giambattista  Moroni,  the  gifted  pupil  of  Mo- 
retto.  Two  portraits,  of  a  sculptor  (No.  217), 
and  of  a  bearded  man  in  a  black  dress  (No.  216), 
are  worth  noticing,  although  neither  is  as  powerful 
as  his  magnificent  '*  Tailor "  of  the  National 
Gallery. 

Moroni  had  the  marvellous  talent  to  present  in 
their  natural  union,  with  no  indiscretion  of  over- 
emphasis, the  spiritual  and  physical  elements  which 
go  to  make  tip  that  mystery  of  mysteries,  the  human 
individuality.  He  was  a  portrait  painter  pure  and 
simple,  for  he  never  succeeded  in  the  few  sacred 
pictures  which  he  essayed  to  reach  the  finest  qualities 
of  his  master.  His  best  altarpiece,  the  Last  Supper, 
at  Romano,  is  only  redeemed  from  stupid  mediocrity 
by  the  portrait-like  treatment  of  some  of  the  heads. 

The  greatest  painter  of  Bergamo  was  Lorenzo 
Lotto,  for  although  born  in  Venice  he  spent  most 
of  his  life  at  Treviso  and  Bergamo. 

With  few  exceptions  all  Lotto's  works  are  re- 
ligious pictures  or  portraits.  The  religious  pictures 
are  not,  however,  of  any  type  that  had  been  seen 
before  —  they  are  more  the  revelations  of  an  inner 


6o      xcbe  art  ot  tbe  IDtenna  ©alleriea 

consciousness,  not  ecstatic  but  devout,  of  self- 
conscious  reflection,  often  with  episodic  pathos. 

That  subjectiveness  is  also  seen  in  his  portraiture. 
While  Lotto  was  able  to  search  the  heart  with 
psychological  skill,  and  depict  his  sitters  so  that 
their  thoughts  are  written  in  their  features,  still  he 
reflected  in  these  faces  some  of  his  own  melan- 
cholic views  of  life,  imparting  to  them  an  air  of 
oppressive  sadness  which  cannot  always  have  been 
the  sitter's  condition. 

The  "Madonna  and  Child  with  Saints''  (No. 
214),  in  the  Imperial  Museum,  is  one  of  the  most 
cheerful  and  buoyant  of  his  religious  works.  It 
has  exuberance,  unusual  with  the  master,  a  rush 
of  life,  and  a  brilliant,  joyous  colouring.  This 
sacra  conversazione  is  one  of  the  finest  of  Lotto's 
works,  charming  in  its  grouping  and  movement, 
with  harmony  and  sparkle  in  its  transparent  tint- 
ing. 

The  portrait  shown  here,  a  "  Man  with  a  Claw 
in  his  Hand"  (No.  215),  is  also  one  of  his  finest 
and  most  characteristic  works.  It  represents  a 
Venetian  nobleman,  wearing  a  dark,  flowing  gown, 
brought  into  relief  by  the  scarlet  curtain  that  forms 
the  background  of  the  picture.  The  head  is  full  of 
subtlety,  intellect,  and  distinction.  We  have  already 
seen  in  the  first  gallery  an  early  work  of  the  artist 
(No.  22).    The  three- fold  portrait  of  a  man  (No. 


Ube  ITmpetial  /IDuseum  6i 

220),  which  MorelH  considers  to  be  a  German  work, 
is  by  Crowe  and  Cavalcaselle  given  to  Lotto. 

In  Cabinet  II,  which  we  now  enter,  as  well 
as  in  Cabinet  III,  we  find  principally  the  works 
of  the  da  Ponte  family,  called  after  their  home 
Bassano.  Three  generations  of  painters  lived  there. 
The  elder  Francesco  is  not  represented.  Of  his 
son,  Giacomo  Bassano,  there  are  some  good  sacred 
pictures  and  an  excellent  portrait,  the  "  Procurator 
of  San  Marco"  (No.  309).  Giacomo's  eldest  son, 
Francesco  II,  was  the  most  prominent  of  the  family. 
His  execution,  which  to  us  must  seem  quite  modern, 
and  his  fertile  invention,  are  displayed  in  thirty 
canvases  of  religious  and  mythological  subjects  and 
portraits.  There  is  a  distinct  Flemish  flavour  about 
them  which  the  meagre  biography  of  the  artist  has 
not,  as  yet,  made  clear.  His  brother  Leandro 
Bassano  is  far  less  important,  with  a  harder 
technique. 

The  Bassani  occupy  a  prominent  place  in  the 
Italian  art  of  the  16th  century.  Their  work  was 
exceedingly  popular  in  Venice  because  it  responded 
in  its  jewel-like  brilliancy  to  the  opulent  taste  of 
the  Venetians,  while  at  the  same  time  the  scenes 
of  every-day  life  around  the  markets  of  the  artists' 
little  country  town  was  novel  and  interesting. 
Giacomo  must  also  be  considered  as  the  first  modern 
landscape    painter.      Titian    and    Tintoretto    and 


62      XEbe  art  ot  tbe  IDienna  ©allertes 

Giorgione,  and  even  Bellini  and  Cima  before  them, 
had  painted  beautiful  landscapes,  but  they  were 
seldom  direct  studies  from  nature,  rather  decorative 
backgrounds,  or  fine  harmonising  accompaniments 
to  the  religious  or  human  elements  of  the  picture. 
Bassano's  studies  of  rural  life  present  the  coun- 
try as  it  really  is,  and  not  arranged  to  look  like 
scenery. 

We  must  also  note  in  the  second  cabinet  a  work 
by  Domenico  Theotocopuli,  called  El  Greco,  of 
whom  we  shall  find  another  example  among  the 
Spanish  paintings  in  the  sixth  cabinet.  The  canvas 
before  us  was  evidently  painted  when  El  Greco 
was  still  a  pupil  of  Titian.  It  shows  an  ''  Adoration 
of  the  Kings"  (No.  272),  in  which  El  Greco^s 
peculiar  tendency  to  elongated  features  is  already 
noticeable. 

The  decadence  of  the  Venetian  school  may  be 
witnessed  in  the  Third  Gallery.  Still  promi- 
nent, and  with  all  the  excellences  is  Paolo  Caliari, 
called  Veronese;  but  already  in  him  we  find  the 
seed  of  decay.  For  no  longer  does  his  work  show 
spiritual  depth,  but  rather  a  desire  for  display  in 
form  and  colour.  With  many  works  that  have  come 
from  Paolo's  studio,  on  some  of  which  he  has  evi- 
dently worked,  we  find  here  only  two  that  are 
indubitably  his  own.  The  magnificent  "  Christ  be- 
fore the  House  of  Jairus  *'  (No.  396)  is  the  most 


XCbe  IFmperial  /IDuseum  63 

important,  although  the  "  Annunciation  ''  (No.  404) 
is  also  rich  and  impressive. 

The  art  of  Paolo  Veronese  is  the  most  gorgeous 
of  the  Venetian  school,  and  the  sense  of  splendour 
in  his  work  is  overpoweringly  pompous,  so  much 
so  that  his  sacred  themes  are  "of  the  earth,  earthy,'* 
and  his  Christs  and  Maries  and  Martyrs  are  sur- 
rounded with  all  the  equipage  of  wealth  and 
worldliness,  the  lust  of  the  flesh,  and  the  pride  of 
life.  In  the  "  Marriage  at  Cana,''  in  the  Louvre, 
for  instance,  we  find  the  startling  anachronism  of 
a  superb  palace  of  noble  architecture,  a  vast  hall, 
and  beneath  marble  porticoes  numerous  illustrious 
personages,  from  Soliman,  Sultan  of  Turkey,  to 
the  Emperor  Charles  V,  together  with  many  of 
the  famous  artists  of  the  day  playing  on  musical 
instruments.  It  is  one  blaze  of  worldly  pomp  — 
thus  religious  art  had  toward  the  end  of  the  Re- 
naissance become  a  paradox. 

But  with  all  his  astonishing  pageantry,  his  over- 
whelming pictorial  masses,  his  full-blooded  luxurious 
colouring,  we  must  rank  Veronese  higher  than 
Tintoretto,  with  whom  he  is  nearest  allied,  because 
of  the  solidity  of  his  workmanship  and  the  apparent 
command  to  sobriety  he  put  upon  his  imagination, 
which  in  Tintoretto  is  often  unbridled.  Although 
he  loved  strong,  deep  colours,  they  always  remained 
heroic  harmonies  produced  by  the  perfect  accord 


64      Ube  Hrt  of  tbe  IDienna  Oalleries 

of  opposites.  By  the  introduction  of  neutral  tones, 
above  all  of  the  beautiful,  silvery  greys  which  per- 
meate his  architectural  motives,  he  subdues  his 
pictures  so  that  nothing  obtrudes,  and  they  attain 
the  distinction  of  reserve. 

Of  Paolo's  teacher,  Antonio  Badile,  of  Verona, 
we  find  two  good  female  portraits  (Nos.  395  and 
397).  Many  of  Paolo's  own  pupils  are  represented, 
the  most  individual  of  whom  was  Battista  Zelotti, 
with  two  Biblical  scenes,  *'  Judith  holding  the  Head 
of  Holofernes''  (No.  391),  and  ^*  The  Anointing 
of  King  David"  (No.  393). 

Reminiscent  of  earlier,  and  greater  men  is  the 
grand-nephew  of  Palma  Vecchio,  Palma  Giovine, 
of  whom  a  dozen  canvases  are  found  here.  His 
imitative  faculty  was  so  great  that  one  picture,  repre- 
senting "St.  Jerome"  (No.  417),  is  still  by  many 
critics  claimed  to  be  by  Tintoretto  —  a  no  mean 
compliment  to  its  credit. 

Imitation,  the  sure  sign  of  decay  and  death  in 
art,  set  its  stamp  of  insipidity  and  insignificance  on 
most  of  the  works  that  were  produced  during  the 
17th  century.  But  with  the  beginning  of  the  18th 
century  a  man  appeared  who  added  some  strength 
of  his  own  to  what  he  had  learned.  This  man  was 
Giovanni  Battista  Tiepolo,  perhaps  the  greatest  of 
all  painters  of  pure  decoration.  He  founded  him- 
self on  the  study  of  Veronese,  but  was  great  enough 


Ube  llmpetial  /iDuseum  6$ 

to  teach  more  than  he  had  been  taught.  He  gave 
a  new  impulse  to  art  —  not  so  much  in  his  own 
country,  but,  while  in  Spain,  he  was  the  inspiration 
of  Goya,  whose  work  became  a  moving  impulse  to 
many  later  Frenchmen.  Thus  it  has  been  truly  said, 
*'  Tiepolo  was  the  last  of  the  old  painters  and  the 
first  of  the  moderns." 

His  art,  however,  cannot  be  rightly  judged  in  the 
Imperial  Museum,  where  we  find  only  a  single  ex- 
ample, a  bust-piece  showing  *'  St.  Catharine  of 
Siena''  (No.  446).  But  the  extravagances  of  ex- 
pression—  these  earmarks  of  decadence  —  are 
apparent. 

One  of  the  best  painters  of  the  18th  century 
in  Northern  Italy  was  Bernardo  Belotto,  called 
Canaletto,  who  received  a  commission  from  the 
Emperor  Charles  VI  to  execute  a  number  of  works 
that  show  us  the  castles  of  Schonbrunn  and  Schloss- 
hof,  and  various  sights  in  old  Vienna.  These  were 
executed  from  1758  to  1760,  and  are  of  some  local 
and  antiquarian  interest.  They  are  in  the  finely 
brushed  manner  of  his  better-known  Venetian  views, 
and  full  of  feeling  for  space  and  atmosphere. 

Cabinet  IV  contains  works  of  the  less  im- 
portant artists  of  the  Milanese  and  Florentine 
schools.  A  "Pieta''  (No.  342),  by  Giulio  Cesare 
Procaccini ;  a  ''  Christ  appearing  to  the  Apostles  " 
(No.  335),  by  Battista  Crespi,  called  il  Cerano;  and 


66      XTbe  Hrt  of  tbe  Dienna  ©alleries 

*' Joseph's  Dream''  (No.  336),  by  his  son  Daniele 
Crespi,  best  represent  the  Milanese  painters. 

Among  those  from  Florence  we  must  note  the 
two  presentations  of  the  "  Weeping  Magdalene " 
(Nos.  340  and  369),  by  Francesco  Furini,  and  the 
sweetly  cloying  works  by  Carlo  Dolci.  Nos.  374  to 
376  are  excellent  examples  of  how  sentiment  may 
precipitate  to  sentimentality,  and  become  lost  in 
insipidity. 

While  art  in  Italy  was  decaying  towards  the  end 
of  the  16th  century,  there  flourished  a  slight  tem- 
porary revival  in  Bologna,  principally  owing  to  the 
work  of  the  Carracci  family.  The  paintings  dis- 
played in  the  Fourth  Gallery  belong  to  this 
period. 

A  forerunner  was  Pellegrino  Tibaldi,  also  famous 
as  an  architect.  His  "St.  Cecilia"  (No.  467), 
accompanied  in  her  song  by  two  angels  playing 
lute  and  harp,  is  still  a  return  to  nature. 

The  Carracci  owe  their  importance  to  this  nature 
study,  and  to  their  refusal  of  the  bald  imitation 
of  their  predecessors.  They  saw  clearly  enough 
that  the  old  methods  and  traditions  had  lost  force, 
and  they  proposed  to  substitute  new  ones  of  their 
own  devising.  It  was  the  theory  of  their  teaching 
to  revive  the  great  qualities  of  the  masters  of  the 
beginning  of  the  century,  and  to  achieve,  by  selection 
and  amalgamation,  a  combination  of  all  excellences. 


XCbe  IFmpettal  /IDuseum  67 

Lanzi  has  pointed  out  how  Annibale  Carracci  thus 
strove  to  exemplify  his  teachings  by  imitating  in 
a  single  work  Veronese  in  one  figure,  Correggio  in 
another,  and  Titian  and  Parmigianino  in  the 
remainder. 

Lodovico  Carracci  was  the  originator  of  this 
movement  of  Eclecticism,  being  soon  supported  by 
his  two  cousins,  Agostino  and  Annibale.  Also 
Agostino's  son,  Antonio,  joined  himself  to  this 
group. 

Among  the  works  of  this  family  shown  here 
those  by  Annibale,  the  most  gifted  member,  are 
superior.  His  "  Christ  and  the  Samaritan  Woman  '' 
(No.  475)  is  a  noble  composition,  painted  with  a 
colourful,  yet  subdued  palette. 

A  large  number  of  works  by  the  contemporaneous 
Guido  Reni  indicate  his  important  place  in  this  late 
Bolognese  school.  Important,  because  of  the  popu- 
lar interest  which  his  pseudo-Raphaelesque  creations 
have  always  excited.  Guido  Reni  was  a  man  of 
great  talent,  who  in  his  earlier  pictures  displayed 
beauty,  artistic  feeling,  and  high  accomplishment 
of  manner,  even  though  we  find  also  a  certain  core 
of  commonplace.  To  this  early  period  belongs  his 
famous  "  Aurora ''  of  the  Rospigliosi  Palace  in 
Rome.  But  his  passion  for  gambling  forced  him 
to  use  his  brush  to  recoup  his  losses,  and  led  him 
to  become  the  greatest  "  pot-boiler ''  that  ever  lived. 


68      Tlbc  Hrt  ot  tbe  Dienna  Oalleries 

Having  invented  pleasing  types  he  reproduced  these 
ad  nauseam,  with  afifectation,  poverty  of  expression, 
monotony  of  gesture,  insipid  ideaHty,  and  mere 
empty,  banal  grace.  His  most  accompHshed  trick 
was  to  portray  upturned  faces  with  eyes  Hfted  to 
heaven,  that  become  almost  unbearable  to  modern 
eyes.  Still,  his  work  bears  the  impress  of  the  age 
of  which  he  became  a  complaisant  reflector,  satis- 
fying the  popular  taste  of  his  day.  His  works 
have  through  reproductions  become  more  generally 
known  than  those  of  perhaps  any  other  of  the 
ItaHans.  The  '^Baptism  of  Christ''  (No.  551)  is 
one  of  the  best,  and  has  a  fine  motif.  The  heads 
of  the  Christ,  crowned  with  thorns  (Nos.  548  and 
554)  are  better  known. 

In  many  ways  related  to  him  is  Francesco  Albani, 
also  of  the  Carracci  school,  who  excelled  in  mytho- 
logical scenes.  One,  and  that  only  a  studio  paint- 
ing, is  shown  here,  the  "  Triumph  of  Galatea  '* 
(No.  530). 

The  Carracci  revival  was  carried  to  Rome  by 
Albani's  pupil,  Andrea  Sacchi,  by  whom  we  have 
"Juno  on  the  Peacock  Chariot''  (No.  537)  — 
wrongfully  ascribed  to  his  pupil  Andrea  Camassei. 
Later  still  came  the  more  important  Carlo  Maratta, 
whose  Madonnas  (Nos.  540  and  541)  are  very 
attractive.  Giovanni  Battista  Sassoferrato  was  en- 
tirely  under   the   influence   of   Guido   Reni.      His 


XCbe  irmperial  /iDuseum  69 

"Mary  with  the  ChiW  (No.  539)  is  a  repHca 
of  a  painting  that  hangs  in  the  Academy  of  Milan. 

Giovanni  Francesco  Barbieri,  called  Guercino, 
although  originally  of  the  Carracci  school,  de- 
veloped himself  later  independently,  and  enjoyed 
fame  during  his  lifetime.  His  bust  of  "  St. 
Sebastian  ''  (No.  532),  and  his  ''  John  the  Baptist  " 
(No.  521),  are  characteristic  works. 

Michelangelo  da  Caravaggio,  the  Neapolitan, 
studied  in  Venice  with  Giorgione.  Later  he  left 
the  Eclectic  tendencies  of  his  contemporaries  and 
became  in  Rome  the  leader  of  the  so-called  Natu- 
ralists, who  forsook  the  finesse  of  technique  for 
broader  treatment  and  greater  realism.  His  method 
embodies  a  reaction  against  the  Carracci  school, 
and  displays  great  strength  and  sincerity.  He  held 
the  Bolognese  masters  in  utmost  disdain,  loudly 
and  emphatically  inveighing  against  their  system, 
demanding  that  nature,  and  not  the  older  masters, 
should  be  followed.  And  if  the  artist,  pursuing 
nature,  should  encounter  ugliness,  triviality,  and 
baseness,  he  should  not  shut  his  eyes,  but  should 
record  them  unflinchingly.  He  fell,  however,  into 
the  usual  error  of  extremists  for,  by  choice,  he  took 
as  his  models  types  of  vulgar  mould,  criminals  and 
vagabonds,  drunkards  and  profligates. 

An  important  work  is  his  "Madonna''  (No. 
496),  who  distributes  by  the  hands  of  St.  Dominic 


70      XCbe  Hrt  of  tbe  IDienna  ©alleries 

and  Peter  Martyr  rose  wreaths  among  the  people. 
The  painting  shows  strength  in  the  sharp  char- 
acterisation of  movement  and  expression,  strongly 
demarked  by  a  one-sided  light-effect.  A  company 
of  Antwerp  artists,  among  them  Rubens,  Breughel, 
van  Balen  and  others,  bought  this  painting  for  the 
Dominican  church  of  their  city,  where  it  hung  as 
an  altarpiece  until  1786.  Also  "David  with  the 
Head  of  Goliath  "  (No.  485)  and  "  Mary  with  the 
Child  and  St.  Anne''  (No.  486)  are  of  his  brush. 

The  puzzling  question  as  to  which  school  an 
emigrated  artist  belongs  —  one  which  to-day  might 
be  raised  as  to  many  Americans  residing  abroad  — 
has  been  decided  by  the  Vienna  Museum  authorities 
in  the  case  of  the  Spanish-born  Giuseppe  de  Ribera, 
called  Spagnoletto,  by  placing  him  with  the  Italian 
school,  since  he  received  his  final  training  under 
Caravaggio's  influence,  and  lived  at  Rome  and  at 
Naples,  where  he  died.  The  "  Crossbearing  Christ '' 
(No.  501),  as  well  as  "Christ  and  the  Doctors'' 
(No.  507),  are  strongly  realistic  in  expression; 
while  Nos.  508  and  509,  showing  a  "  Philosopher  " 
and  a  "  Mathematician,"  supposed  to  represent 
Archimedes,  are  typical  in  expression. 

Ribera's  most  gifted  pupil,  Salvator  Rosa,  may 
be  studied  both  in  his  landscapes  and  figure  work,  of 
which  his  "Warrior's  Portrait"  (No.  516)  is  the 
most  striking. 


PORTRAIT  OF  CHARLES  IX  OF  FRANCE 
FRAXCOIS  Imperial 

CLOUET  PJ^te  VIII  Museum 


CHAPTER   III 

THE     FRENCH     AND     SPANISH     PAINTINGS 

The  French  school  in  its  development  from 
Gothic  art  to  the  latest  Impressionistic  vagaries 
may  not  be  studied  in  the  Imperial  Museum.  Only 
a  meagre  number  of  paintings,  indicating  a  few  of 
the  periods  through  which  French  art  has  passed, 
are  found  in  the  Fifth  Cabinet.  These  are, 
however,  generally  interesting. 

Two  portraits  of  *'  Charles  IX  of  France  "  are 
by  Frangois  Clouet,  called  Jehannet,  one  of  the 
earliest  of  French  easel  painters.  No.  571  is  a  bust 
portrait  of  the  King  at  the  age  of  eleven  years; 
No.  572  (Plate  VIII)  presents  him  in  Hfe-size  at 
the  age  of  twenty.  These  portraits  excel  in  light- 
ness of  touch,  learned  precision  of  line,  and  con- 
tempt for  unnecessary  detail. 

Three  interesting  little  portraits  (Nos.  572,  a.  b. 
c. ) ,  long  lost  in  store-rooms,  have  lately  been  placed 
in  this  Cabinet.  One  of  these  bears  the  date  1535. 
They  belong' to  an  unknown  group  of  French- 
German  portrait  painters  of  Clouet's  time.    A  great 

71 


72      Ubc  Htt  ot  tbe  Wienna  ©allertes 

many  of  these  small  heads  are  found  in  various 
museums,  and  form  material  for  interesting  study- 
by  future  critics.  The  names  of  Amberger,  of 
Corneille  de  Lyon,  and  others  are  now  promiscu- 
ously attached  to  these  well-painted  little  panels. 

The  17th  century,  so  important  in  France  be- 
cause it  gave  birth  to  real  landscape  art  in  Claude 
Lorrain,  is  only  represented  here  by  the  men  who 
bore  the  Italian  collar.  Full  of  this  trans- Alpine 
schooling  was  Laurent  de  la  Hire,  of  whom  we 
have  a  conventional  "Ascension  of  Mary"  (No. 
574).  The  classicism  of  Nicolas  Poussin,  founded 
on  the  Italian  Cinquecento,  is  seen  in  *'  The  De- 
struction of  Jerusalem"  (No.  583).  This  is  also 
evident  in  the  two  landscapes  (Nos.  585  and  586), 
by  his  brother-in-law  and  pupil,  Gaspard  Dughet, 
called  Gaspard  Poussin.  Another  pupil  of  Nicolas 
was  Jacques  Stella,  whose  "  Judgment  of  Solomon  " 
(No.  582)  must  not  be  passed  by.  Valentin  de 
Boulogne  modelled  himself  entirely  on  Caravaggio, 
although  his  "Moses  giving  the  Law"  (No.  589) 
displays  individual  strength.  Of  the  same  school 
was  Pierre  Mignard,  appropriately  called  le  Romain, 
whose  "  St.  Anthony"  (No.  584)  has  more  of  the 
Italian  manner. 

Of  the  Elder  Charles  le  Brun,  the  founder  of 
the  French  Academic  des  Beaux  Arts,  we  find  here 
an    "Ascension    of    Mary"    (No.    591),    that    is 


TCbe  ffrencb  an5  Spanisb  ipatntings     73 

reminiscent  of  Annibale  Carracci;  while  the  battle 
scenes  of  Jacques  Courtois,  called  Bourguignon,  find 
their  prototype  in  the  works  of  Salvator  Rosa. 

A  small  landscape  (No.  592),  by  Jean  Frangois 
Millet,  called  Francisque,  is  quite  modern  and  most 
interesting.  It  does  not  bear  any  resemblance  to 
the  studio  work  of  the  Poussins  where  he  received 
his  training,  although  its  artistic  qualities  cannot 
compare  with  the  work  of  his  namesake  of  a  century 
and  a  half  later. 

The  portrait  painter  of  the  end  of  the  17th  cen- 
tury, Hyacinthe  Rigaud,  and  his  later  confrere 
Joseph  S.  Duplessis,  are  worthily  shown  by  por- 
traits that  made  them  popular  in  their  day.  The 
portrait  of  the  composer  von  Gliick  (No.  588),  by 
Duplessis,  lacks,  however,  any  personal  character, 
although  characterisation  is  hard  striven  for  by 
pose  and  gesture.  Indeed,  the  hand  floating  over 
the  keyboard,  and  the  uplifted  eyes,  are  a  species 
of  affectation  that  does  not  enhance  the  charm  of 
the  picture. 

An  interesting  little  panel  is  by  Antoine  Watteau, 
a  "  Guitar-player  "  (No.  577)  ;  such  a  figure  as  this 
most  charming  of  painters  loved  to  draw  with  his 
caressing  touch.  Watteau's  art  was  the  breath  of 
French  life  of  the  18th  century  —  an  era  of  fantastic 
romance,  full  of  frivolous  and  trivial  graces,  peopled 
by  the  children  of  elegant  amusement  and  vivacious 


74      XCbe  Hrt  of  tbe  IDienna  Oalleries 

desires.  The  reaction  from  the  grand  and  pompous 
style  of  the  time  of  Louis  XIV  had  Hberated  art 
and  made  it  free,  gay  and  joyous.  Pomposity  was 
done  away  with,  and,  after  the  huge  wigs  and 
voluminous  draperies  of  Rigaud,  came  the  powder 
and  satin  coats  of  Nattier  and  Tocque,  and  Watteau 
with  his  stage  of  gallantry  and  masquerade. 

One  whose  delicacy  of  touch  was  formed  in  that 
French  period  of  elegance  was  Jean  Etienne  Liotard, 
whose  best-known  work  is  the  pastel  Chocolate  Girl, 
of  Dresden.  As  characteristic  a  figure,  painted  on 
porcelain,  is  found  here  in  an  "  Old  Woman  "  (No. 
590),  who  has  fallen  asleep  while  reading  her  Bible. 
Three  marines  by  Adrien  Manglard,  and  a  view  of 
Rome  by  his  pupil  Claude  Vernet  conclude  our 
survey  of  the  French  paintings. 

In  the  next,  the  Sixth  Cabinet,  are  the  Spanish 
paintings. 

With  a  shorter  period  of  art  expression  —  only 
covering  the  17th  century  —  we  find  more  indi- 
vidual characteristics  in  the  works  of  the  Spanish 
school  than  in  the  majority  of  the  French  painters. 

In  the  first  painter  whose  work  is  shown  here, 
Alonzo  Coello,  we  do  not  yet  discover  any  measure 
of  nationalist  expression.  This  pupil  of  the  Dutch 
Antonis  Mor  —  who  taught  Coello  during  his  tem- 
porary residence  in  Spain  —  painted  entirely  in  the 
style  of  his  master,  as  is  plainly  seen  in  the  "  Por- 


Ube  yrencb  an&  Spanisb  paintings     75 

trait  of  a  Lady  ''  (No.  597),  in  a  red  dress.  Also 
his  ''  Portrait  of  Queen  Anne  of  Spain  ''  (No.  602), 
and  one  of  a  boy  with  a  falcon  (No.  608),  presum- 
ably the  Archduke  Wenzel,  a  son  of  Emperor 
Maximilian  II,  favour  the  Dutch  method.  The 
same  may  be  said  of  the  four  portraits  of  royalty 
(Nos.  598-601),  by  Coello's  pupil,  Juan  de  la 
Cruz. 

Still  another  Spaniard  —  this  time  with  Italian 
training,  for  he  was  an  imitator  of  the  Bassani  — 
was  Pedro  Orrente.  His  "John  the  Baptist'*  (No. 
610)  is  the  best  of  his  three  works  displayed  here. 
The  wilderness  —  or  rather  the  lonely  place,  which 
is  the  meaning  of  the  original  Greek  word  —  is 
shown  here  as  a  beautiful  landscape  where  we  see 
the  Baptist,  still  a  young  man,  kneeling  forward 
to  drink  from  a  spring  in  the  rocks.  The  lamb 
at  his  feet  is  a  fine  piece  of  painting.  "  Jacob's 
Dream"  (No.  604)  and  ''Christ  Healing  the 
Sick"  (No.  623)  are  reminiscent  of  his  Italian 
tutelage. 

The  Museum  authorities,  who  displayed  some 
decision  of  critical  judgment  in  assigning  Ribera  to 
the  Italian  school,  left  the  question  unsettled  in 
regard  to  El  Greco,  of  whom  we  saw  an  "  Adoration 
of  the  Kings "  among  the  Italian  paintings  in 
Cabinet  11.  Another  of  his  works  is  found  here 
among  the   Spaniards,   a   "  Portrait   of   a   Man " 


76      Zbc  art  ot  tbe  IDienna  ©alleries 

(No.  596),  which  is  an  independent  canvas  of  ex- 
cellent execution. 

El  Greco,  Greek  by  birth,  Italian  by  training,  and 
Spanish  by  adoption,  is  least  mannered  in  his  por- 
traits. That  curious,  pulled-out  quality  of  arms  and 
heads  which  we  have  come  to  associate  with  him 
does  not  always  obtrude  itself  when  he  strives  more 
for  characterisation  of  his  sitters.  This  portrait, 
painted  in  1600,  in  his  Spanish  period,  is  one  of  the 
most  successful  of  his  single  heads.  The  eyes, 
especially,  are  well  painted,  and  an  advance  on 
Titian's  convention,  with  whom  eyes  often  look  like 
buttonholes.  There  is  a  flavour  of  modernity  about 
the  simply  and  frankly  stated  light  and  shade,  and 
in  the  direct  manner  of  painting  his  edges,  which 
his  Venetian  masters  generally  painted  more  or  less 
sharp  and  then  achieved  their  soft  edge  by  glazings 
and  retouchings. 

The  greatest  of  the  Spaniards,  Diego  Rodriguez 
de  Silva  y  Velasquez,  is  well  represented.  Since 
the  name  of  Velasquez  is  used  more  carefully  than 
a  hundred  years  ago  we  may  not  accept  indisputably 
all  of  the  thirteen  paintings  that  hang  here  under  his 
name.  The  *'  Portrait  of  Queen  Maria  Anna ''  (No. 
605),  for  instance,  does  not  in  the  least  satisfy  as 
far  as  colour  and  execution  are  concerned.  Further, 
the  "  Portrait  of  the  Infanta  Margaretha  Theresia '' 
(No.   609)    is,  according  to  C.   Justi,  a  work  of 


Xlbe  ifrencb  an&  Spanfsb  paintings     77 

Mazo,  under  the  guidance  of  Velasquez;  and  the 
"Portrait  of  Queen  Isabella  of  Spain"  (No.  622) 
is  manifestly  a  studio  copy,  like  the  majority  of  this 
queen's  portraits,  now  found  outside  the  country. 

The  *'  Portrait  of  the  Infanta  Margaretha 
Theresia"  (No.  621),  at  the  age  of  twelve,  has 
a  curious  interest.  While  it  was  formerly  called 
the  Infanta  Maria  Theresia,  it  was  observed  by 
Justi  that  the  double  eagle  on  her  breast  and  the 
features  indicate  her  to  have  been  Margaretha,  the 
bride  of  Emperor  Leopold  I.  But  since  in  the 
year  of  her  engagement  to  the  Emperor,  in  1664, 
Velasquez  had  been  dead  three  years,  it  is  surmised 
that  on  an  earlier  portrait  of  the  princess  the 
features  have  been  changed  by  a  pupil  to  correspond 
with  her  slightly  advanced  age. 

Four  other  portraits  are  undoubtedly  by 
Velasquez'  own  hand.  These  are  the  bust  por- 
trait of  "Philip  IV"  (No.  607);  the  "Portrait 
of  the  Infante  Philip  Prosper"  (No.  611),  as  a 
child  of  two  years,  standing  by  an  armchair  on 
which  a  small  white  dog  lies;  the  "Portrait  of 
the  Infanta  Margaretha  Theresia"  (No.  615),  as 
a  child  of  three  or  four  years,  in  a  pale  red  robe, 
holding  in  her  left  hand  a  fan,  and  leaning  against 
a  low  table;  and  the  "Portrait  of  the  Infanta 
Maria  Theresia"  (No.  617),  her  half-sister,  at  the 
age  of  fifteen. 


78      xrbe  Hrt  ot  tbe  IDfenna  ©allerics 

The  other  portraits  (Nos.  612,  616,  618  and 
619)  are  either  studio  works  or  copies  from  origi- 
nals that  are  lost.  One  picture,  disputed  by  Justi, 
must  still  be  regarded  as  an  original  work  by 
Velasquez.  Frimmel,  although  acknowledging  Justi 
as  the  greatest  Velasquez  authority,  still  claims  that 
*'  it  is  impossible  to  say  who  else  could  have 
painted  it." 

This  picture  is  the  "Laughing  Boy''  (No.  613. 
Plate  IX),  one  of  those  strongly  characteristic  types 
which  the  master  loved  to  paint  when  not  occupied 
with  his  royal  commissions. 

The  portraits  by  Velasquez  baffle  description  and 
praise.  When  we  gaze  upon  these  paintings  we 
look  into  a  room,  into  the  reflection  of  a  mirror,  into 
open  space  —  and  we  see  a  human  being,  alive, 
breathing,  real.  This  genius  among  painters  owed 
little  to  the  example  of  any  man.  From  the  first 
he  was  a  realist,  seeing  with  his  own  eyes,  going 
his  own  way.  Even  when  Rubens  was  in  Madrid 
and  painted  in  the  studio  of  Velasquez  where  the 
Spaniard  must  have  watched  the  great  Fleming  a 
number  of  times  —  Rubens  even,  notwithstanding 
his  resplendent  and  overwhelming  power,  did  not 
have  the  least  influence  upon  him.  He  remained 
true  to  his  own  originality,  gradually  and  quietly 
maturing  his  power  of  execution,  running  a  simple 
course  of  evolution  from  beginning  to  end,  without 


VELASQUEZ 


LAUGHING    BOY 

Plate  IX 


Imperial 

Museum 


c     e 


€  *   *  •    •       «  e      e       • 


Zbc  Jfrencb  an&  Spanisb  paintings     79 

ever  seeking  to  alter  his  style,  or  to  improve  the 
quality  of  his  realism. 

The  four  portraits  by  his  own  hand  which  I  have 
pointed  out  have  that  striking  relief  and  perfect 
solidity  of  real  beings;  and  the  marvellous  en- 
velopment of  air  with  which  he  surrounds  them 
gives  a  peculiar  intensity  of  illusion  and  appearance 
of  life.  His  cardinal  quality  may  also  be  studied 
in  these  portraits.  Velasquez  was  the  supreme 
master  of  values  —  that  is,  painting  the  same  colour 
under  varying  intensity  of  light.  And  he  does  this 
so  unobtrusively,  with  such  precision  and  certainty, 
as  no  man  ever  had  done,  or  has  done  since.  The 
question  will  never  be  settled,  who  was  the  greatest 
portrait  painter  who  ever  lived  —  a  futile  question 
at  any  rate.  But  it  must  be  conceded  that  the  palm 
lies  between  two  —  Frans  Hals  and  Velasquez. 

And  when  Velasquez  left  the  court-circle,  and 
painted  beggars  and  urchins  and  our  "  Laughing 
Boy,"  he  did  it  with  the  same  serious  sincerity  that 
makes  him  the  most  objective  of  all  painters. 

The  son-in-law  of  Velasquez,  Juan  Battista  del 
Mazo,  his  pupil  and  helper,  is  represented  by  a  por- 
trait group  (No.  603),  that  probably  shows  the 
artist's  own  family,  for  his  heraldic  device,  a  mailed 
arm  holding  a  hammer  (mazo),  is  in  the  upper  left 
corner.  His  colouring  was  somewhat  more  sombre 
and  flatter  than  that  of  his  master. 


So      Zbc  Hrt  ot  tbe  IDienna  (Balleties 

A  portrait  by  Carrefio  de  Miranda,  of  King 
Charles  II  of  Spain,  the  last  of  the  Spanish  Habs- 
burgs,  does  not  flatter  his  royal  sitter  —  it  has  a 
peculiar  ghostly  appearance.  Still  we  must  recog- 
nise in  the  technique  a  highly  talented  brush. 

Next  to  Velasquez  in  importance  to  Spanish  art 
stands  Bartolome  Esteban  Murillo.  The  only  paint- 
ing catalogued  under  his  name,  "  John  the  Baptist 
as  a  Child"  (No.  614),  was  already  disputed  by 
Waagen  almost  a  hundred  years  ago.  But  a  view 
of  Murillo's  art  may  be  had  when  we  come  to  the 
Academy  collection,  which  possesses  one  of  his 
masterpieces. 


CHAPTER   IV 

THE   FLEMISH   AND  DUTCH   PAINTINGS 

We  will  now  retrace  our  steps  through  the  Italian 
section  to  enter  the  left  wing  of  the  Museum  where 
in  five  galleries  and  seven  cabinets  the  numerous 
works  are  displayed  that  come  from  the  Nether- 
lands. Almost  a  complete  survey  may  be  had  of 
the  art  of  Flanders  and  Holland,  from  the  van 
Eycks  with  whom  the  15th  century  commenced 
until  the  end  of  the  18th  century.  Indeed,  some 
of  these  painters  are  far  more  richly  shown  in 
Vienna  than  in  any  museum  of  the  Netherlands. 

Flemish  and  Dutch  art  found  its  origin,  as  with 
the  Italians,  in  the  religious  life  of  the  people;  but 
in  the  North  art  had  a  broader  expression.  It  did 
not  confine  itself  to  the  churchliness  of  religious 
life,  but  embraced  soon  the  humanistic  side  of  life, 
its  interest  in  all  things  created.  Thus  the  painters 
depicted  the  scenes  of  daily  life,  even  not  neglecting 
to  delineate  plants  and  animals  and  inanimate  ob- 
jects that  could  add  to  the  truth  of  these  scenes. 

We  will  first  enter  Cabinet  XVIII  (see  Plan). 
8i 


82      Ubc  Hrt  of  tbe  Vienna  ©alleries 

The  first  important  masters  of  painting  outside 
of  Italy,  in  point  of  time,  were  the  brothers  Hubert 
and  Jan  van  Eyck,  of  Flanders.  They  are  the  re- 
puted discoverers  of  painting  with  oil  as  a  medium 
to  mix  and  apply  pigments ;  or,  if  not  the  originators 
of  this  method,  they  at  least  perfected  the  process 
so  that  it  was  thenceforth  universally  adopted. 

But  they  were  further  pioneers  in  another  most 
important  aspect.  Up  to  the  15th  century  art  was 
universally  in  the  employ  of  the  Church,  and  ecclesi- 
astical in  its  aim  and  tendency;  but,  although 
Hubert  van  Eyck,  the  elder  brother,  always  re- 
mained faithful  to  the  traditions  of  mediaeval  times, 
Jan  was  the  first  to  give  expression  to  the  restless, 
half -conscious,  half -unconscious  spirit  of  resistance 
to  the  powers  of  ecclesiasticism,  and  he  turned  with 
a  kind  of  joyous  conviction,  and  in  all  sincerity,  to 
the  higher  revelation  which  he  found  in  nature 
itself.  His  interest  in  the  outward  aspect  of  ma- 
terial things,  no  matter  what  they  were,  asserted 
Itself  with  irresistible  force.  Jan  van  Eyck  must 
be  regarded  as  the  first  liberator  of  art  from  the 
yoke  of  the  Church,  and  with  him  we  find  the  birth 
of  that  great  Flemish  art  which  in  its  own  way 
faithfully  pictured  the  life  around. 

It  is  as  a  painter  of  portraits  that  he  has  given 
us  the  greatest  proofs  of  his  genius.  His  men  and 
women  seem  to  be  living  realities,  so  strongly  does 


XTbe  iflemisb  anC)  S)utcb  paintings     S3 

the  personality  of  each  appeal  to  us;  for  he  not  only 
correctly  delineated  the  features  of  his  sitters,  but 
studied  them  until  he  grasped  and  could  transfer 
to  his  panel  the  characteristics  of  each  one.  In 
fact,  his  Madonnas  and  saints  are  nothing  but  por- 
traits of  the  homely  or  comely  Flemish  women 
whom  he  chose  as  his  models.  And  though  this 
may  show  a  lack  of  imaginative  quality  in  his  work, 
it  was  a  distinct  departure. 

The  Imperial  Museum  possesses  two  works  by 
Jan  van  Eyck.  His  "  Portrait  of  Jan  de  Leeuwe  " 
(No.  625)  is  magnificent,  showing  all  the  finesse 
of  his  delicate  brush  without  in  the  least  belittling 
its  vitality  and  expressiveness.  This  Bruges  gold- 
smith, according  to  the  inscription  then  thirty-five 
years  old,  shows  a  strong,  beardless  face,  and  is 
dressed  in  a  dark,  fur-bordered  garment.  As  an 
emblem  of  his  trade  he  holds  between  his  thumb 
and  forefinger  a  small  ring.  A  strong  light  falls 
on  the  face  accentuating  the  physiognomic  lines. 

The  other  portrait  seen  here  is  of  equal  im- 
portance. It  shows  the  likeness  of  ''  Cardinal  della 
Croce "  (No.  624),  a  grey  man  in  a  wide,  red 
tabard,  hemmed  with  white  fur.  It  is  painted  with 
excessive  care  and  exactitude,  and  with  exquisite 
finish  in  the  delineation  of  detail,  while  it  shows 
at  the  same  time  the  directness  and  simplicity  which 
characterise  Jan  van  Eyck's  work. 


84      Ube  Hrt  of  tbe  IDienna  Galleries 

Rogier  van  der  Weyden,  his  contemporary,  de- 
veloped himself  independently,  although  surely 
receiving  significant  impressions  from  the  van 
Eycks.  His  was  a  different,  even  a  dissimilar 
genius.  Where  the  van  Eycks  aimed  at  calm  and 
serene  grandeur,  van  der  Weyden  strove  for  pathos. 
He  had  the  religious  and  dramatic  instinct,  the  gifts 
of  tenderness  and  emotion,  a  taste  for  sinuous,  even 
tortuous  and  dislocated  lines,  which  express  the 
strong  emotions  of  the  soul. 

The  fine  altarpiece  with  two  wings  (No.  634) 
is  an  undoubted  example  of  the  great  Tournai  mas- 
ter. The  centre  shows  Christ  on  the  cross,  before 
which  Mary  is  kneeling,  with  St.  John  standing  at 
her  side.  On  the  left  kneel  the  donors,  and  four 
angels  in  black  robes  flutter  in  the  sky.  The  left 
wing  shows  St.  Veronica,  with  the  sweatcloth;  on 
the  right  stands  St.  Magdalene  with  the  cup  of 
balsam.  An  impressive,  soulful  expression  is  found 
on  the  different  faces;  the  colour  is  beautiful  in 
its  harmony;  while  the  landscape  shows  the  great 
naturalistic  advance  of  the  North  over  the  work 
of  the  Italian  artists.  Nos.  632  and  633  are  minia- 
turelike paintings  of  the  "  Madonna  "  and  of  "  St. 
Catharine,"  which,  if  not  by  Rogier,  are  very  near 
to  his  manner. 

Rogier  van  der  Weyden  divided  honours  with  the 
van  Eycks  as  the  inspirer  of  those  who  worked 


LAMENTATION    OF    CHRIST 

HUGO 
VAN  DER 
GOES 

Plate  X 

Imperial 
Museum 

Ubc  iflemisb  an&  Wwtcb  paintings     85 

in  the  second  half  of  the  15th  century.  Among 
the  most  important  of  his  followers  was  Hugo  van 
der  Goes,  of  whose  sorrowful  life,  ending  in  mental 
aberration,  little  is  known.  We  find  here  three 
small  panels,  parts  of  a  relic  shrine,  which  are 
characteristic  of  his  work.  On  the  outside  of  the 
little  door  is  the  statuette  of  ''  St.  Genoveva  "  (No. 
630),  painted  in  white,  standing  in  a  Gothic  frame- 
work. The  reverse  of  the  door,  sawed  off  from  the 
front,  presents  "  Adam  and  Eve  in  Paradise ''  (No. 
631),  which  is  an  exquisite  piece  of  painting  of 
original  conception.  The  form  of  the  tempter,  part 
woman,  part  serpent,  shows  the  independent  spirit 
in  which  these  old  Flemings  worked.  What  was 
the  background  of  the  little  reliquary  shows  a 
"Lamentation  of  Christ"  (No.  629.  Plate  X). 
This  composition  also  illustrates  the  divergence  of 
conception  from  the  Italian  mind.  There  is  a 
greater  mobility,  more  realistic  expression,  purer 
humanism  than  in  any  Italian  work  that  presents 
this  subject. 

And  that  these  Flemings  did  not  copy  each  other, 
but  had  their  own  way  of  doing  things,  is  seen  in 
the  work  of  Hans  Memlinc.  He  was  called  the 
Northern  Beato  Angelico,  but  only  because  of  the 
loveliness  and  innocence  of  his  female  figures,  in 
which  he  excelled  all  his  contemporaries.  He  did 
not,  however,  express  the  character  and  force  of 


ss      Ubc  Hrt  of  tbe  ll)ienna  ©alleries 

We  shall  be  unable  in  our  review  of  this  section 
to  separate  the  Flemish  paintings  from  those  of  the 
North  Netherlands  or  Dutch  school,  since  the 
Museum  authorities  have  not  drawn  a  distinction 
between  these  so  often  diverging  tendencies  of  art 
expression.  This  is  especially  the  case  with  the 
Primitives,  for  further  on  we  will  find  a  more  logi- 
cal, and  historically  more  correct  arrangement. 

We  note  then  a  work  of  the  typical  North 
Netherlander  Geertgen  van  Sint  Jans  van  Haarlem. 
It  is  the  remaining  wing  of  an  altarpiece  which 
the  artist  painted  for  the  St.  John  church  in 
Haarlem,  the  other  two  parts  having  been  destroyed 
by  fire.  Having  been  sawed  through  we  see  here 
both  sides  of  this  wing  (Nos.  644  and  645).  On 
one  side  is  shown  a  "  Descent  from  the  Cross," 
characteristic  for  its  detailed  description  of  the 
whole  scene.  In  one  part,  for  instance,  we  note  how 
the  body  of  one  of  the  thieves,  taken  from  the  cross, 
is  put,  head  foremost,  into  a  hole  in  the  ground  by 
the  Roman  soldiers.  The  other  side  shows  the 
legend  of  St.  John  the  Baptist,  whose  bones  were 
burned  by  order  of  the  Emperor  Julian  the  Apostate. 
The  distinctly  new  departure  of  managing  the  light 
effect,  which  originated  in  the  North  and  was 
brought  to  its  full  glory  by  Rembrandt,  is  here  seen 
for  the  first  time. 

Another  Hollander,  Jacob  Cornelisz  van  Oost- 


Ube  fflemisb  an5  Butcb  paintiuQS     89 

sanen,  comes  next  with  a  four-winged  altarpiece, 
dated  1511.  Dedicated  to  St.  Jerome,  shown  in 
a  cardinal's  dress,  it  displays  various  groups  of 
saints  and  other  personages,  with  an  interesting  and 
original  arrangement  wherein  animals  play  a  role. 

Nearby  hangs  a  new  acquisition  of  the  Museum, 
not  yet  catalogued  but  numbered  643a.  The  tablet 
ascribes  it  to  the  Master  of  the  Death  of  Mary,  a 
very  prolific  painter,  thoroughly  imbued  with  Italian- 
ism,  who  has  lately  been  identified  as  one  Joost 
van  Cleve.  This  remarkable  artist  was  active  in 
Cologne,  but  had  his  training  in  Flanders  or  Hol- 
land. His  most  important  painting,  ''  The  Death 
of  Mary,''  which  gave  him  his  name,  hangs  in  the 
Munich  Pinakothek. 

The  picture  before  us  is  a  small  portrait  of  Queen 
Eleanore  of  France,  the  sister  of  Emperor  Charles 
V.  The  enamel-like  pencilling  of  the  fur-bordered, 
silver-stitched  dress  points  to  the  artist's  Flemish 
training. 

One  of  the  most  original  and  fantastic  personali- 
ties of  that  time  was  Hieronymus  Bosch,  called  in 
the  North  where  he  properly  belongs,  Jeroen  Bosch. 
He  was  the  forerunner  of  Breughel  and  Teniers  in 
their  grotesque  presentations  of  the  nether- world ; 
nor  did  these  followers  ever  surpass  the  chimeralike 
fantasy  of  Jeroen.  On  an  altarpiece  (No.  615),  a 
triptychon,  we  see  St.  Jerome,  in  a  red  mantle, 


90      XEbe  Hrt  of  tbe  IDfenna  ©allertes 

kneeling  before  a  crucifix;  a  sidewing  depicts  St. 
Anthony,  in  a  hairy  coat,  being  tempted;  the  other 
wing  has  St.  Aegydius  with  his  emblems,  the  arrow 
and  the  little  doe  who  unafraid  has  sought  refuge 
with  him.  Especially  in  the  temptation  of  St. 
Anthony  —  a  subject  which  Bosch  constantly  re- 
peated with  endless  variety  of  presentation  —  do  we 
find  those  weird  little  figures  of  scarcely  imaginable 
form  wherewith  he  filled  his  scenes.  A  delicate 
brushing,  an  exquisite  sense  of  colour,  and  an 
admirable  handling  of  the  light-eflfects  among  the 
numerous  details  of  his  compositions  are  his  most 
prominent  characteristics.  That  with  all  his  racy 
and  spirited  imagination  he  was  also  able  to  por- 
tray deep  feeling  is  shown  in  another  triptychon 
(No.  653),  on  which  the  martyrdom  of  St.  Julia 
is  depicted.  Two  other  panels  (Nos.  650  and  652) 
are  excellent  copies  of  the  work  of  Bosch.  They 
show  even  more  fully  his  favourite  topics  —  the 
temptation  of  St.  Anthony  and  the  torments  of 
hell. 

Still  another  Hollander  is  the  famous  Lukas  van 
Ley  den,  one  of  the  greatest  painters  of  the  early 
Dutch  school,  and  equally  famous  as  an  etcher. 
Neither  one  of  the  two  examples  found  here  under 
his  name  —  one  a  portrait  of  "  Maximilian  I ''  (No. 
659),  the  other  a  "Temptation  of  St.  Anthony'' 
(No.   658)  —  gives,  however,  the  right  impression 


XTbe  jflemtsb  anb  Dutcb  paintings     91 

of  his  work.  Their  attribution  may  well  be 
doubted. 

We  should  note  that  these  northern  painters  show 
less  susceptibility  to  those  trans-Alpine  influences 
which  were  commencing  to  prove  pernicious  to 
their  Flemish  contemporaries. 

One  of  the  first  landscape  painters  of  note  was 
the  Flemish  Joachim  Patinir.  He  was  in  the  habit 
of  painting  from  an  eminence,  whereby  he  succeeded 
in  giving  a  wide  sweep  and  stretch  to  his  undulating 
landscapes,  aided  therein  by  a  transition  from  soft 
green  and  brown  tones  in  the  foreground  to  a  blue 
green  and  light  blue  shimmering  tone  in  the  far 
distance.  Thus  he  produced  a  light-perspective  of 
peculiar  luminance.  The  *'  Baptism  of  Christ '' 
(No.  666)  may  well  be  regarded  as  one  of  his 
masterpieces,  while  the  "Flight  into  Egypt''  (No. 
664),  despite  its  miniaturelike  execution,  is  of 
almost  equal  importance. 

Of  great  interest  are  a  half  dozen  pictures  by 
Hendrik  met  de  Bles,  a  follower  of  Patinir  and  of 
Jeroen  Bosch,  who  had,  nevertheless,  a  personal 
talent.  He  signed  his  pictures  with  an  owl,  where- 
fore he  was  called  Civeta  by  the  Italians  when  he 
visited  Italy.  Three  "  Temptations  of  St.  Anthony  " 
(Nos.  655-657)  and  a  representation  of  hell  (No. 
654)  are  in  the  style  of  Bosch,  while  in  Nos. 
670-672  we  find  more  an  echo  of  Patinir's  landscape 


92      Ube  Hrt  of  tbe  IDienna  Galleries 

art.  *'John  the  Baptist"  (No.  671),  where  the 
herald  is  seated  in  a  hollow  tree  preaching  to  the 
people,  is  especially  interesting.  Four  other  panels 
are  also  labelled  as  in  his  manner,  but  probably  not 
of  his  hand. 

A  picture,  of  which  replicas  are  found  in  Antwerp 
and  in  the  Munich  Pinakothek,  represents  a  "  Flight 
into  Egypt''  (No.  676),  and  is  catalogued  as  of 
the  Master  of  the  Seven  Sorrows  of  Mary.  The 
painter  should,  however,  be  identified  with  Adriaen 
Isenbrant,  who  was  active  in  Brussels  in  the  first 
half  of  the  16th  century. 

We  will  now  enter  Gallery  XV. 

What  Patinir  did  for  landscape  in  his  search  for 
realism,  Quentin  Massys  did  for  the  human  figure. 
In  portraits,  and  by  his  novel  grouping  in  religious 
and  genre  pictures,  he  proved  himself  a  master 
whom  even  Diirer  was  delighted  to  honour.  Only 
in  one  example  here,  but  that  a  typical  one,  can  we 
study  his  work.  This  is  "  St.  Jerome  "  (No.  691), 
seated  at  a  table  in  a  study,  reading  a  large  book, 
with  his  left  hand  resting  on  a  skull.  The  face 
shows  more  character  and  strength  than  has  yet  been 
seen  among  the  Flemish.  By  his  son,  Jan  Massys, 
there  are  three  panels,  fully  in  his  father's  manner. 

A  few  other  16th  century  Antwerp  painters  are 
shown,  whose  works  we  may,  however,  only  pass- 
ingly notice.     These  are  Jan  Sanders,  called  after 


Ube  3f  lemisb  an&  S)utcb  paintings     93 

his  native  place  van  Hemessen  —  of  whom  the 
Berlin  Gallery  possesses  a  magnificent  example, 
although  he  is  nowhere  represented  in  the  Dutch 
galleries  —  and  Marinus  van  Roymerswale.  In  the 
latter's  "St.  Jerome"  (No.  698)  we  can  easily 
recognise  the  influence  of  Massy s. 

Turning  again  to  the  North  Netherlands  we 
meet  with  the  work  of  Pieter  Aertsen,  called  Lange 
Pier,  of  Amsterdam,  the  first  one  of  the  painters 
who  dignified  peasant  life  with  a  scenic  presentation 
of  realistic  joy  —  although  this  had  already  been 
done  in  miniatures  and  etchings  in  the  15th  century. 
His  figures,  many  of  them  lean  and  lanky  in  imita- 
tion of  his  own,  display  an  abandon  of  social  in- 
souciance which  must  have  been  startling  to  Italians 
when  first  they  beheld  these  pictorial  scenes  of 
harmless  riotous  living.  His  "  Peasant  Festival " 
(No.  704)  is  the  best  of  the  three  examples  shown 
here.  It  has  many  figures  and  a  complicated  mise- 
en-scene,  perfectly  harmonious  in  all  its  apparent 
disorder,  such  as  was  to  become  a  characteristic 
of  the  Netherland  school.  No.  703  represents  a 
peasant-couple  making  love  in  their  rustic  way; 
while  in  No.  705  we  see  a  farmer  with  a  basket  of 
fowls,  and  a  peasant  woman  bringing  her  eggs  and 
butter  to  market.  The  still  life  in  these  pictures 
becomes  already  noteworthy. 

His  pupil,  Joachim  Bueckelaer,  has  two  single 


94      XEbe  Hrt  of  tbe  IDienna  ©alleries 

figures  of  excellent  types  in  the  genre  of  his 
master. 

This  Museum  is  the  only  place  where  a  remarka- 
ble painter  can  be  fully  studied  who  is  elsewhere, 
even  in  Flanders  and  Holland,  insufficiently  shown. 
This  is  Pieter  Breughel,  the  Elder,  called  Peasant 
Breughel.  Fourteen  magnificent  examples,  eleven 
of  these  of  ample  size,  display  his  art  to  perfection. 
The  earliest  of  these  paintings  is  dated  1559,  when 
the  artist  was  thirty-four  years  old,  the  latest  dated 
picture  is  of  1567,  two  years  before  his  early  death 
in  Brussels,  at  the  age  of  forty-four. 

The  work  dated  1559  is  called  "The  Struggle 
between  Carnival  and  Fasting"  (No.  716),  and 
shows  the  Flemish  masquerade  of  Shrove  Tuesday. 
The  principal  figures  are  a  well-rounded  boniface, 
sitting  astride  a  beer-barrel  and  holding  a  toasting- 
spit  like  a  lance  before  him,  and  a  doleful  looking 
person  sitting  on  a  chair  on  rollers,  which  is  being 
pulled  and  pushed  by  monks  and  nuns.  The  on- 
slaught which  the  merry  crew  that  pushes  the  beer- 
barrel  will  make  on  the  order  of  the  bread-shovel 
may  be  imagined.  There  is  an  inexhaustible  fund 
of  humour  in  this  picture,  and  as  much  in  the  array 
of  "Playing  Children''  (No.  708),  painted  the 
year  following.  This  seems  to  contain  a  complete 
catalogue  of  all  the  joys  of  child-life  —  but  the 
almost  confusing  medley  of  details  is  so  harmoni- 


Zbc  fflemisb  an&  Dutcb  paintings     95 

ously  brought  together  by  the  colour  scheme  that 
the  most  orderly  arranged  mosaic  cannot  be  more 
restful  to  the  eye.  The  little  panel  called  ''  The 
Bird-thief"  (No.  718)  is  a  jewel  of  execution. 
On  a  space  of  23  x  28  inches  a  scene  is  portrayed 
in  a  landscape  that  seems  to  stretch  for  miles.  A 
husky  farmer  has  detected  a  boy  in  one  of  his  trees, 
and  points  threateningly  towards  him  with  a  stick. 
Still  smaller  in  size,  but  with  an  equal  sweep  of 
landscape,  is  the  ''  Battle  between  the  Israelites  and 
Philistines''  (No.  721),  where  the  two  hosts  are 
depicted  in  an  inextricable  mass,  while  Saul  and 
his  armour-bearer  fall  on  their  swords.  The  '*  Way 
to  the  Cross"  (No.  712)  is  of  larger  size,  again 
with  a  mixed  multitude  of  people,  and  an  exquisite 
landscape.  And  so  we  might  go  on.  All  the  num- 
bers, from  708  to  721,  present  features  that  arouse 
our  astonishment  and  demand  our  admiration. 

The  painting  which  I  have  selected  to  illustrate 
Breughel's  work  is  called  "Winter"  (No.  713. 
Plate  XI),  one  of  a  series  on  the  four  seasons  of 
which  "Spring"  (No.  711)  and  "Autumn"  (No. 
709)  are  also  found  here,  while  "  Summer  "  hangs 
in  the  Louvre.  This  set  belongs  to  the  last  years 
of  the  painter's  life,  and  shows  how  he  gradually, 
advanced  in  simplifying  his  fantastic  masses  of 
people,  although  he  never  could  forego  the  ideal 
invention  of  his  landscape  composition,  which  rarely 


96      Ubc  Hrt  ot  tbe  IDienna  ©alleties 

IS  completely  Flemish.  Yet,  how  full  of  life  is  the 
scene.  Note  the  far-off  figures  skating  on  the  pond 
—  never  has  the  spirit  of  winter  in  Flanders  been 
so  vividly  portrayed.  And  equal  praise  belongs  to 
"Spring''  and  "Autumn.'' 

When  Peasant  Breughel  died  he  left  a  four 
years  old  son  who  was  to  be  called  Pieter  Breughel, 
the  Younger,  and  became  known  as  "  Hellish 
Breughel."  The  "  Winter  Landscape  "  (No.  722), 
by  the  younger  Pieter,  seems  empty  compared  with 
the  great  work  of  his  father.  The  fantastic  com- 
positions which  gave  him  his  unsavoury  appella- 
tion, and  in  which  he  equalled  Jeroen  Bosch,  are 
not  represented  here.  The  landscapes  (Nos.  729- 
739),  by  Lucas  van  Valckenborch,  are  praise- 
worthy; some,  notably  No.  738,  impressive  —  still 
they  savour  too  much  of  the  work  of  the  Elder 
Breughel,  his  teacher. 

We  must  not  overlook  the  architectural  paintings 
of  Hans  Vredeman  de  Vries,  who  was  court- 
painter  to  the  Emperor  Rudolph  H.  These  church 
interiors  and  open  spaces  surrounded  by  magnifi- 
cent fagades  (No.  723-727)  are  extremely  meri- 
torious. 

We  will  turn  to  the  adjoining  Cabinet  XVH 
to  follow  the  later  development  of  Flemish  art; 
and  we  find  an  interesting  array  of  men,  many  of 
whom  are  scarcely  known,  even  by  name,  to  many 


Ubc  iflemisb  an&  2)utcb  paintings     97 

art  lovers.  They  all  bear,  however,  visible  traces 
of  what  was  to  cause  the  early  decay  of  Flemish 
art  —  an  undue  following  of  Italian  example. 
These  are  hybrid,  though  often  fascinating  works,  in 
which  Italian  idealism,  the  imitation  of  the  antique, 
and  Flemish  realism  are  associated,  but  not  assimi- 
lated. 

Thus  we  note  in  the  work  of  Jan  Gossaert, 
called  Mabuse,  besides  a  following  of  his  master 
Quentin  Massy s,  also  the  distinct  influence  of  his 
study  of  Leonardo  da  Vinci,  as  may  be  seen  in 
''St.  Luke"  (No.  754),  and  in  a  ''Madonna" 
(No.  755).  His  contemporary,  Barent  van  Orley, 
active  in  Brussels,  where  he  died  in  1542,  retained 
more  of  the  colour  and  handling  of  the  earlier 
Gerard  David;  especially  does  his  "Rest  on  the 
Flight  to  Egypt"  (No.  766)  recall  the  primitive 
master.  His  pupil,  Michiel  van  Cocxie,  called  the 
Flemish  Raphael,  has  to  his  credit  two  panels  rep- 
resenting scenes  connected  with  the  loss  of  Paradise 
(Nos.  770  and  771),  which  prove  his  right  to  the 
name  given  him  by  his  admirers.  The  same  ener- 
vating Italian  influence  is  found  in  the  works  of 
Frans  Floris,  Marten  van  Cleve,  and  some  others, 
among  whom  the  flower  painters  Jan  van  Thielen 
and  Daniel  Seghers  excelled. 

The  portraits  in  the  Cabinet  are  more  original 
in    handling.     From    the    Master    of    the    Female 


98      Ubc  art  of  tbe  IDienna  ©alleries 

Half-figures,  an  unknown  Flemish  painter  of  the 
early  part  of  the  16th  century,  we  find  here  two 
portraits,  of  a  young  man,  and  of  a  young  woman 
(Nos.  763  and  764),  which  furnish  some  ground 
for  the  identification  of  this  unknown  with  Frangois 
Clouet,  the  Flemish-born  Frenchman  whose  work 
we  saw  in  Cabinet  V.  Two  members  of  the 
Antwerp  St.  Lukas  Guild  of  the  middle  of  the 
century  were  named  Key  —  Adriaen  Thomas  and 
his  cousin  Willem.  The  portraits  which  are  shown 
from  these  men,  each  represented  by  two,  are  of 
marked  interest.  The  best  portrait  painter  of  this 
period  was  Antonis  Mor,  who  had  a  deserved  repu- 
tation in  England  as  well  as  in  Spain.  None  of 
his  portraits  shown  here  (Nos.  786-791)  can, 
however,  compare  with  his  famous  ''  Goldsmith '' 
of  the  Mauritshuis  of  The  Hague.  The  work  of 
the  three  painters  named  Pourbus,  Pieter,  Frans, 
the  Elder,  and  his  nephew  Frans,  the  Younger,  is 
in  comparison  with  that  of  Mor  of  less  account. 

There  are  also  in  this  cabinet  some  examples  of 
a  few  North  Netherland  painters  of  secondary 
rank.  A  mythological  subject  (No.  775)  is  by 
Antonis  van  Montfoort,  called  van  Blokland,  who 
belonged  to  the  Utrecht  Guild;  as  did  Joachim 
Wtewael,  with  Nos.  798  and  799.  The  Haarlem 
painter  Cornelis  Cornelisz.  van  Haarlem  was  de- 
cidedly the  most  talented,  with  a  presentation  of 


RUBENS 


PORTRAIT    OF    HELENE    FOURMENT 
(The  Pelise) 

Plate  XII 


Imperial 
Museum 


Ube  iflemisb  an5  2)utcb  paintings     99 

Kadmus,  whose  people  are  being  devoured  by  the 
Dragon  (No.  802). 

The  last  picture  that  will  keep  us  in  this  Cabinet 
will  also  lead  us  to  the  next  Gallery,  which  may 
well  be  called  the  Rubens  Room,  since  fifty  of 
the  sixty  paintings  displayed  there  are  by  this 
greatest  of  the  Flemish  masters,  or  came  from 
his  studio. 

This  painting  by  Peter  Paul  Rubens,  which  hangs 
in  Cabinet  XVII,  because  a  sidelight  is  better  for 
its  display  than  a  toplight,  is  the  master's  famous 
portrait  of  his  second  wife,  Helene  Fourment,  gen- 
erally called  "The  PeHse  "  (No.  829.  Plate  XII). 
Rubens  never  wearied  of  reproducing  her,  as  he 
seemed  to  worship  in  her  the  perfection  of  fem- 
ininity, and  apostrophised  her  in  his  paintings  as 
his  ideal  of  beauty.  Here  we  find  her  coming 
from  her  bath,  holding  a  dark  fur  coat  loosely 
around  her.  It  is  a  masterpiece  of  exquisite  flesh- 
tints,  treated  in  a  series  of  delicate  white  and 
ivory  tones,  with  the  blood  just  under  the  skin, 
that  glows  in  contrast  with  the  black  of  the 
cloak. 

Gallery  XIV  is  magnificent  in  the  display  of 
the  rich,  voluptuous  art  of  the  greatest  of  all 
Flemings.  It  shows  the  unparalleled  fecundity  of 
the  man,  as  a  portrait  painter,  landscape  painter,  a 
painter  of  religious,  historical,  allegorical  and  do- 


loo     Ubc  Hrt  of  tbe  Dienna  (Balledes 

mestic  subjects,  of  hunting  scenes,  fetes  and  battle- 
pieces. 

With  all  this  diversity  of  subjects  we  are  not 
confused  by  a  perplexity  of  impressions.  In  fact, 
such  a  complete  array  of  the  master's  work  enables 
us,  after  a  little  while  of  patiently  assimilating 
all  the  messages  these  many  canvases  bring  to  us, 
to  have  a  very  clear  conception  of  the  art  and  the 
man.  We  see  that  the  principal  thing  with  Rubens 
was  the  general  effect;  and  though  he  painted  the 
details  with  the  greatest  truth,  he  contented  him- 
self with  making  them  subordinate  to  the  whole. 

There  is  a  total  absence  of  apparent  effort. 
There  is  an  ease  and  fluency  in  the  painting  that 
does  not  call  a  halt  when  our  eyes  run  along  the 
conglomerating  lines  of  his  figures.  Even  when 
he  portrays  the  most  violent  and  furious  gestures, 
impetuous  and  impulsive,  the  universal  commotion 
is  still  like  the  full  sonorous  harmony  of  a  mighty 
orchestra,  without  jar  or  discord  —  it  makes  our 
blood  tingle  and  rush,  but  we  are  not  shocked. 

The  same  applies  to  his  colours.  However  bril- 
liant, luminous  and  sparkling  they  may  be,  form- 
ing a  scintillating  prism  of  light,  the  luxuriant 
contrasts  form  an  harmonious  relation  of  glowing 
tints.  The  colouring  of  his  flesh  in  particular  is 
marvellous  in  its  vivid  transparency  of  tone  and 
glow  of  life. 


XCbe  JFlemisb  an&  H)utcb  paintings    loi 

The  master  heightens  the  general  effect  of  com- 
position and  colour  by  the  opulence  of  accessories, 
which  fit  so  completely  in  his  scheme  that  they 
do  not  seem  to  be  accessories  at  all  but  very  signifi- 
cant parts  of  the  whole.  Thus  the  magnificence  of 
lustrous  silks,  embroideries  and  golden  brocades, 
modern  costumes  and  antique  draperies,  arms, 
standards,  colonades,  canopies,  ships,  animals,  and 
every  imaginable  detail  of  the  richest  nature  —  the 
irresistible  outflow  of  a  surfeited  brain,  add  to  the 
heroic  grandeur  of  his  creations. 

It  is  difficult  to  know  where  to  commence  or 
how  to  select  the  best  from  such  wealth  as  is  offered 
to  us  in  this  Gallery.  We  will  view  the  most  im- 
portant works,  generally  in  the  order  of  the  cata- 
logue, which  is  also  the  order  in  which  the  paint- 
ings are  displayed  on  the  walls. 

The  ''Feast  of  Venus''  (No.  830)  takes  a  first 
place  among  the  mythological  subjects  painted  by 
Rubens.  The  centre  of  the  large  composition  is 
a  statue  of  Venus  softly  emerging  from  the  half- 
shadows,  and  like  another  Galatea  feeling  the  first 
pulsations  of  life  as  her  devotees,  putti  and  maidens, 
joyously  whirl  around  the  altar  at  her  feet.  More 
impassioned  is  the  throng  of  satyrs  and  nymphs 
which  comes  crowding  through  the  landscape,  while 
in  the  far  distance  the  temple  of  Aphrodite  is 
visible. 


I02     XTbe  Hrt  of  tbe  tDienna  Oallerfes 

No.  832  is  the  magnificent  portrait  of  ''  Emperor 
Maximilian  I,"  in  armour,  which  was  found  in 
the  master's  studio  after  his  death.  MaximiHan 
was  the  famous  Emperor  of  Germany  who  with 
Henry  VIII  of  England  won  the  brilliant  Battle 
of  the  Spurs  against  the  French.  Since  he  died 
fifty-eight  years  before  Rubens  was  born  this  por- 
trait is  to  be  considered  only  as  a  pure  work  of 
art.  The  Emperor,  clad  in  complete  steel,  em- 
bossed with  golden  ornaments,  his  morion  set  with 
gems,  his  jerkin  emblazoned  with  heraldic  designs, 
his  hand  lightly  resting  on  the  pommel  of  his  sword, 
stands  at  the  entrance  of  his  tent,  of  which  a  heavy 
red  curtain  is  visible.  The  lightly  clouded  sky 
serves  as  a  background. 

No.  833  is  also  a  work  entirely  by  Rubens'  own 
hand,  of  his  later  years.  It  shows  a  ''  Repentant 
Magdalene,"  wringing  her  hands  in  anguish  as 
with  her  foot  she  pushes  away  a  casket  with  jewels. 
The  juxtaposition  of  her  sister  Mary  in  a  black 
nun's  habit  at  her  side  is  a  coup,  whereby  the 
master  powerfully  portrays  the  swinging  of  the 
pendulum  in  female  character  —  from  a  full- 
blooded  abandon  to  the  wiles  of  life  to  a  deep 
religious  spirit. 

No.  834  is  one  of  the  principal  religious  works 
of  Rubens.  It  is  the  famous  altarpiece  of  the  St. 
Ildefonso   Brotherhood,   and   was   ordered  by  the 


Ube  if  lemisb  anO  2)utcb  paintings    103 

Archduchess,  the  Infanta  Isabella,  for  the  church 
at  Coudenberge  as  a  votive  offering  to  the  memory 
of  her  husband  Albert,  who  had  been  dead  ten 
years.  This  number  concerns  the  middle  panel  and 
the  wings  opened.  The  front  of  these  wings  have 
been  sawed  off  and  united  in  one  painting  which 
we  shall  see  under  No.  871. 

The  enthroned  Madonna,  surrounded  by  her 
women,  offers  to  the  kneeling  Ildefonso  a  chasuble, 
which  he  fervently  kisses  as  he  receives  it  from 
her  hands.  A  soft,  golden  light  fills  the  high  can- 
opied space,  and  bathes  the  luminous  figures  and 
resplendent  draperies  and  the  angels  floating  in  the 
upper  part  of  the  picture.  On  the  one  wing  is 
seen  the  Archduke  Albert,  with  his  patron  St. 
Albert  in  the  costume  of  a  cardinal,  who  seems 
to  present  him  to  the  Madonna;  and  on  the  oppo- 
site wing  St.  Clara  offers  her  protegee,  the  Arch- 
duchess, a  golden  crown  intertwined  with  roses. 
In  the  background  of  each  sidepanel  a  majestic 
crimson  curtain  hung  between  marble  columns  gives 
the  dominant  touch  of  colour.  Many  critics  de- 
clare this  to  be  one  of  the  most  admirable  works 
of  the  master.  The  Empress  Maria  Theresia 
bought  this  altarpiece  from  the  church  of  Couden- 
berge for  forty  thousand  florins,  after  which  it 
came  to  Vienna  in  1777. 

Nos.  835,  836  and  838  are  possibly  studio  paint- 


I04     Ubc  Hrt  of  tbe  IDienna  Galleries 

ings,  the  last  two  being  portraits  of  old  men,  lack- 
ing somewhat  the  brilliancy  of  Rubens'  colour. 

No.  837  displays  the  freshness  of  nature  in  the 
**  Castle  Park  ''  —  the  summer  place  of  Rubens, 
"  de  Steen  ''  —  wherein  a  gallant  conversation  takes 
place  among  the  aristocratic  visitors.  No.  839  is 
a  *'  Pieta/'  in  which  the  magnificent  drawing  and 
foreshortening  of  the  body  of  Christ  give  the 
artistic  pleasure  that  accompanies  the  impressive- 
ness  of  the  sorrowing  figures.  No.  864  shows  the 
same  subject  in  a  different  composition.  No.  841 
may  be  a  companion  piece  to  the  Maximilian  I 
which  we  have  noticed.  It  is  a  harnessed  portrait 
of  Charles  the  Bold,  of  Burgundy  —  a  masterful 
performance.  No.  842,  an  "  Annunciation,"  is  an 
early  work  in  which  the  painter's  transparency  of 
colour  and  of  light  in  the  shadows  only  commences 
to  assert  itself. 

We  know  that  Rubens,  never  considering  him- 
self a  master  but  always  a  student,  assiduously 
applied  himself  in  copying  the  works  of  other  mas- 
ters while  in  Italy  and  Spain,  notably  those  of 
Titian.  Two  of  these  copies  are  here  (Nos.  844 
and  845),  in  which  we  note  how  Rubens  could  not 
suppress  his  individuality,  for  the  gentle,  modest 
Venetian  lady,  of  Titian,  which  is  now  in  Dresden, 
presents  under  his  hand  a  far  more  worldly  ap- 
pearance. 


Ubc  iflemisb  anO  2)utcb  paintinos    105 

A  number  of  portraits  of  intense  vitality  and 
force  now  claim  our  attention.  The  bust  of  *'  St. 
Jerome''  (No.  848),  as  a  cardinal;  the  heroic  size 
portraits  of  Ferdinand,  King  of  Hungary  (No. 
849),  and  of  the  Cardinal  Infante  Ferdinand  (No. 
851);  the  so-called  "Old  Levite  "  (No.  852);  the 
magnificent,  sketchy  head  of  the  ''  Man  in  a  Fur 
Coat"  (No.  853);  another  elderly  man's  head, 
with  a  fur  coat  and  a  white  neck-ruff  (No.  855) ; 
and  one  of  a  middle-aged  man  (No.  856) — all 
these  portraits  display  marvellous .  power  of  in- 
dividualisation.  Further  on  we  will  see  the  profile 
of  Queen  Isabella  of  Spain  (No.  873),  the  first 
wife  of  Philip  IV,  of  which  No.  872  is  a  weak 
studio  copy.  Also  the  portrait  of  a  young  woman, 
in  a  black  silk  dress  (No.  874) ;  and  the  head  of 
a  greybeard  (No.  875),  one  of  the  finest  old  man's 
heads  Rubens  has  painted.  We  will  dismiss  his 
portraiture  with  the  well-known  *'  Self-portrait " 
(No.  859),  a  vigorous  presentation,  the  hand  rest- 
ing on  the  rapier  handle,  pulsating  with  fife. 

His  wonderful  power  of  composition,  the  fer- 
tility of  his  invention,  and  his  prodigal  force  of 
presentation  is  further  to  be  seen  in  three  large 
paintings  which  Rubens  made  for  the  Jesuit  church 
of  Antwerp,  and  which  were  bought  for  the  Im- 
perial Gallery  in  1776.  One  shows  "  St.  Xavier 
preaching  and  working  Miracles  in  India"    (No. 


io6     XTbe  Hrt  of  tbe  IDienna  (Balleries 

860)  ;  another,  "  St.  Loyola  curing  the  Insane " 
(No.  865).  Both  these  paintings  were  produced 
with  the  assistance  of  pupils,  as  may  be  seen  by 
comparing  them  with  the  original  sketches  from 
Rubens'  own  hand  (Nos.  862  and  863).  Entirely 
autographic  is  the  third  painting  from  the  Jesuit 
church,  the  "Ascension  of  Mary''  (No.  861). 
The  ascending  figure,  drawn  up,  as  it  were,  by  sur- 
rounding putti,  is  far  different  from  those  we  know 
by  Raphael  or  Murillo.  There  is  also  a  dramatic 
eclat  in  the  enthusiastic  wonder  of  the  apostles  and 
the  fearful  regret  of  the  women  who  place  their 
own  loss  above  the  glorification  of  the  Madonna. 
No.  850,  "  Bishop  Ambrose  denies  to  Emperor 
Theodosius  Entrance  to  the  Church,"  also  a  large 
composition,  is  of  equal  magnificence  and  resonance 
of  colour. 

Mythological  in  character,  and  perhaps  painted 
with  greater  gusto,  are  the  "  Four  parts  of  the 
World"  (No.  857),  which  are  being  divided  by 
the  rivergods  Maranhon,  Nile,  Danube  and  Ganges. 
"The  Hermit  and  the  Sleeping  Angelica"  (No. 
868)  gives  us  another  view  of  Rubens'  marvellous 
nudepainting.  The  "  Hunt  of  the  Calydonian 
Boar"  (No.  858)  contains  some  of  the  work  of 
the  great  animal  painter  Frans  Snyders;  and  one 
of  the  last  works  of  the  master  "  A  Landscape 
in    a    Thunderstorm"    (No.    869)    combines    the 


xrbe  iflemfsb  an5  Dutcb  paintings    107 

mythological  figures  of  Jupiter,  Mercurius,  Phile- 
mon and  Baucis  in  a  magnificent  display  of  the 
tossing  elements. 

The  sawed-of5f  fronts  of  the  wings  of  the  Ilde- 
fonso  altarpiece  have  been  united  as  No.  871,  and 
present  a  scene  called  "  The  Holy  Family  under 
an  Apple-tree."  The  brightness  and  brilliancy  of 
the  colour  of  this  painting,  the  liquid  energy  of 
the  lines,  present  significant  phrases  for  visual 
rapture. 

Besides  a  half  dozen  school  pictures  from 
Rubens'  studio  we  find  further  in  this  gallery  the 
work  of  the  two  van  Balens,  Hendrik  and  his  son 
Jan,  and  of  Theodoor  van  Tulden,  who  frequently 
colaborated  with  Rubens.  An  "  Anointing  of  Solo- 
mon "  (No.  887),  by  Cornelis  de  Vos,  does  not 
give  us  as  high  an  appreciation  of  his  talent  as  do 
his  better-known  portraits,  especially  those  of 
children. 

Before  we  enter  the  next  Gallery,  where  we  shall 
see  the  work  of  Rubens'  only  Flemish  rival,  van 
Dyck,  we  will  pass  through  Cabinets  XVI,  XV, 
and  XIV,  where  the  work  of  minor  artists  is  dis- 
played. Some  pieces  of  special  interest  will,  how- 
ever, attract  our  attention. 

In  Cabinet  XVI  we  find  four  landscapes  by 
Paul  Bril,  and  a  large  number  of  Roelant  Savery 
—  both   declaring  their   Italian  predilection.     The 


io8     XCbe  art  ot  tbe  IDienna  (Balleries 

most  attractive  works  here  are  those  by  Jan  Breu- 
ghel, the  Elder,  called  Velvet  Breughel.  Nos.  904- 
914  show  that  this  famous  flower  painter  was 
equally  successful  in  other  genre.  His  son,  Jan 
Breughel  the  Younger,  was  inferior  in  talent.  The 
architectural  paintings  by  Hendrik  van  Steenwyck, 
the  Elder,  and  the  Younger,  and  by  Pieter  Neeffs, 
the  Elder,  and  the  Younger,  show,  often  in  small 
pictures,  the  vast  spaces  of  the  Netherland  cathe- 
drals. 

In  Cabinet  XV  we  halt  before  an  entire  wall 
covered  by  the  paintings  of  Peeter  Snayers,  whose 
battle  pieces  are  fraught  with  all  the  turmoil  and 
confusion  of  the  sanguinary  conflicts  of  his  day, 
where  hand  to  hand  combat  and  equestrian  charges 
formed  the  principal  features.  Here  also  we  make 
the  interesting  discovery  of  the  work  of  the  van 
den  Hoeckes,  father  and  two  sons,  Antwerp  paint- 
ers of  the  17th  century.  Their  work  is  scarcely 
known,  but  displays  in  genre,  landscape,  and  por- 
traiture uncommon  talent.  And  still  better  are 
two  landscapes  by  Joost  de  Momper,  which  well 
deserve  our  attention. 

A  recent  acquisition,  not  yet  catalogued,  has  been 
hung  in  this  Cabinet.  It  is  the  portrait  of  a 
Canonicus  in  white  choir  robe,  with  the  Almutium 
on  his  arm.  This  very  interesting  portrait,  which 
has  yet  some  primitif  qualities,  is  ascribed  to  Fran- 


XTbe  jflemisb  an&  Dutcb  paintings     109 

Qois  Denys,  a  Flemish  painter  who  Uved  in  Antwerp 
in  1610  but  disappears  after  1655. 

Cabinet  XIV  contains  Httle  of  special  interest. 
Here  also  hangs  a  new  acquisition,  a  Dutch  interior 
in  the  style  of  van  Ostade,  by  Gillis  Tilborch.  The 
best  work  in  this  Cabinet  is  by  the  two  brothers 
Peeters,  Bonaventura  and  Jan,  whose  seapieces  are 
among  the  first  in  a  genre  in  which  the  Nether- 
lands were  to  excel. 

We  will  return  now  to  Gallery  XIII.  This 
may  be  called  the  van  Dyck  Room,  since  twenty- 
five  of  this  master's  works,  in  all  his  various  ex- 
pressions, dominate  the  Gallery. 

Anton  van  Dyck,  the  greatest  of  the  pupils  of 
Rubens,  showed  distinct  and  clearly  marked 
changes  in  his  style,  which  may  be  divided  into 
three  periods.  When  he  was  influenced  by  Rubens 
we  find  deeper  colour  and  rounder  form.  When 
on  the  advice  of  Rubens  he  visited  Italy  he  came 
under  the  spell  of  the  genius  of  Titian  and  Veronese, 
and  then  a  greater  spirituality  and  less  dominance 
of  the  material  side  of  existence  become  apparent. 
His  last  period  coincides  with  his  residence  in 
England,  when  his  portraiture,  to  which  he  had 
already  devoted  considerable  time,  engrossed  him 
almost  completely,  and  gave  him  his  greatest  fame. 

The  magnificent  *' Holy  Family''  (No.  1047) 
belongs  to  the  early  Rubens  period;    as  does  the 


no     XTbe  Hrt  ot  tbe  IDienna  ©alleries 

''  Crucifixion  "  (No.  1033),  which  has  noble  pathos. 
Less  dramatic  than  his  master's  are  van  Dyck's 
passion  scenes.  The  "Pieta"  (No.  1051)  has  a 
gentler  spirit,  deeper  feeling  of  sorrow,  more  spir- 
ituality, if  less  force,  than  the  work  of  Rubens. 
This  lack  of  exuberant  strength  is  also  manifest 
in  the  only  mythological  presentation  we  have  here 
by  van  Dyck,  his  "  Venus  in  Vulcan's  Smithy " 
(No.  1035),  where  the  goddess  receives  armour 
and  weapons  for  Aeneas.  No.  1043  is  a  para- 
phrase of  one  of  Rubens'  own  compositions,  and 
shows  the  struggle  between  Samson  and  the  Philis- 
tines, after  Delilah  has  taken  his  strength  from 
him. 

Most  of  van  Dyck's  Madonnas  belong  to  his 
second  period.  The  large  altarpiece,  *'  St.  Rosalie 
receives  a  Wreath  from  the  Christ-child"  (No. 
1039),  reflects  Titian's  inspiration.  This  painting, 
as  well  as  "  The  Blessed  Herman  Joseph  kneeling 
before  the  Virgin"  (No.  1039),  was  painted  for 
the  Celibate  Brotherhood  of  Antwerp.  In  the  same 
style  is  the  ''St.  Franciscus  Seraphicus "  (No. 
1036),  with  more  mystic  sentiment,  such  as  the 
gentle  nature  of  van  Dyck  could  feel.  It  shows 
the  saint  seated  in  his  grotto;  in  his  right  hand 
he  holds  a  skull,  while  the  left  arm  embraces  a 
crucifix.  With  closed  eyes  he  listens  to  a  lute- 
playing  angel.     This  same  spirit  is  shown  in  the 


VAN 
DYCK 


PORTRAIT  OF  PRINCE  RHODOKANAKIS 
Plate  XIII 


Imperial 
Museum 


XTbe  jFlemisb  ant)  Dutcb  paintings     m 

study-head  of  a  young  woman  (No.  1030).  Pure 
ecstacy  has  scarcely  ever  been  portrayed  so  finely, 
as  she  looks  upward  with  opened  lips  and  ravished 
eyes,  the  face  framed  in  long  blond  hair. 

Van  Dyck's  portraiture  was  also  at  first  inspired 
by  Titian,  whom  he  followed  therein  in  prefer- 
ence to  Rubens.  The  latter's  portraits  were  too 
realistic,  too  much  revealing  the  inner  character  of 
the  sitter  to  suit  the  exacting  taste  of  the  time, 
which  demanded  more  the  erabellishment  of  out- 
ward appearance,  and  the  dignity  of  position  and 
office,  whether  the  patron  showed  it  or  not.  There- 
in did  van  Dyck  reach  the  acme  of  his  art.  The 
best  example  of  this  characteristic,  which  per- 
force has  become  the  qualification  of  his  style,  is 
No.  1032,  the  ''  Portrait  of  Prince  Rhodokanakis '' 
(Plate  XIII).  It  is  the  personification  of  stately 
grace  and  charm,  not  without  manliness  in  its  at- 
tractive beauty. 

There  are  here  full-length  portraits  of  Prince 
Karl  Ludwig  von  der  Palz  (No.  1038),  when  he 
was  fifteen  years  old,  and  of  Prince  Ruprecht 
(No.  1042),  when  twelve.  Several  knee-pieces  rep- 
resent notabilities  of  the  Southern  Netherlands. 
There  is  also  a  portrait  of  Countess  Amalia  van 
Solms,  Princess  of  Orange  (No.  1028),  and  of 
a  young  General  (No.  1034),  which  is  full  of 
energy.     A  more  intimate  presentation  is  the  *'  Por- 


112     xrbe  art  ot  tbe  IDIenna  Galleries 

trait  of  a  Man''  (No.  1050),  of  middle  age,  with 
blond  beard  and  mixed-grey  hair,  which  formerly 
was  supposed  to  be  the  likeness  of  his  fellow- 
painter  Frans  Snyders. 

The  name  of  van  Dyck  can  hardly  be  placed 
among  the  masters  who  shine  in  the  first  rank  in 
the  Pantheon  of  art.  He  lacks  the  creative  genius, 
the  dramatic  instinct.  He  was  not  original.  He 
followed  the  example  of  those  whom  he  selected 
to  imitate  with  timid  steps,  betraying  his  own  lack 
of  intuition.  Even  in  his  portraits  he  only  copied 
his  sitters,  acquiring  later  the  trick  of  increasing 
their  appearance  of  distinction.  But  he  could  not 
read  their  character,  nor  portray  it  as  Titian  had 
done;  nor  infuse  his  own  subjectivity  as  we  find 
it  in  the  work  of  Lorenzo  Lotto.  He  was  an  ex- 
pert workman,  with  a  superficial  sheen  of  bril- 
liancy. That  he  served  later  as  a  model  to  some 
English  portrait  painters,  as  Leiy  and  Lawrence, 
accounts   for  their  artistic  insignificance. 

Van  Dyck's  own  portrait  (No.  1060)  was 
painted  by  Adriaen  Hanneman,  an  artist  who  was 
not  without  merit. 

Among  the  other  paintings  in  Gallery  XHI  we 
must  note  a  "  Pieta ''  (No.  1089),  by  Caspar  de 
Crayer,  a  pupil  of  Rubens,  whose  style  is  easily 
recognised.  Another  pupil,  and  often  his  co- 
worker, was  Frans  Snyders,  famous  as  an  animal 


TLbc  iflemfsb  an^  H)utcb  paintings     113 

painter.  Nos.  1080-1085  display  qualities  in  this 
class  of  subjects  that  have  rarely  been  excelled. 
The  human  figures  in  the  "  Fishmarket ''  (No. 
1082)   were  painted  by  Cornelis  de  Vos. 

The  strongest  one  of  Rubens'  contemporaries 
was  Jacob  Jordaens.  As  human  as  Rubens,  this 
master  portrays  the  manners  and  morals  of  his 
time  with  greater  naivete  and  humour.  Only  one 
example  by  Jordaens  hangs  in  this  Gallery;  but  it 
is  a  masterpiece  of  his  brush.  It  is  his  famous 
''  Feast  of  the  Bean-king''  (No.  1087),  which  por- 
trays the  revelry  of  one  of  the  Yule-tide  gather- 
ings of  Flanders.  The  glorious,  colourful  tumult 
of  the  many  figures,  golden  in  the  light  that  fills 
the  room,  gives  rich  satisfaction  to  all  artistic 
demand. 

Two  portraits  by  Joost  Sustermans,  both  of  the 
Archduchess  Claudia,  the  wife  of  the  Archduke 
Leopold  V  of  Austria  (Nos.  1075  and  1088),  are 
in  the  conventional  manner  of  the  period,  such  as 
we  have  already  become  acquainted  with  in  the 
Pourbus  portraits.  Peter  van  der  Faes,  better 
known  as  Sir  Peter  Lely,  and  generally  classed 
with  the  English  school,  is  here  housed  with  the 
Flemings.  Two  gentle  ladies,  gently  pictured 
(Nos.  1093  and  1094),  are  by  the  brush  of  this 
imitator  of  van  Dyck.  No.  1093  is  even  a  copy 
of  van  Dyck's  Portrait  of  Frances  Howard,  Duchess 


114     XCbe  art  of  tbe  Dienna  (Balleries 

of  Richmond  and  Lenox,  which  is  now  in  a  pri- 
vate collection  in  England. 

Gallery  XII  partly  shows  the  work  of  second 
rate  artists,  but  also  the  genre  scenes  of  the  great 
peasant  painters.  Among  the  former  we  must 
give  credit  to  the  allegorical  representation  of  the 
months,  and  some  mythological  compositions  (Nos. 
1110-1123),  by  Jan  van  den  Hoecke,  by  whom 
we  saw  already  good  work  in  Cabinet  XV.  The 
month  allegories  were  designs  for  tapestries  which 
are  now  in  the  possession  of  the  King  of  Sweden. 

More  prominent  was  David  Teniers,  the  Elder, 
of  whom  we  have  here  four  examples  (No.  1137- 
1144).  His  style  is  related  to  that  of  the  Breu- 
ghels,  although  Italy  and  the  Rubens  studio  taught 
him  much.  The  landscape  part  of  his  mythological 
compositions  forms  the  most  attractive  portion  of 
his  work.  Of  his  four  sons  —  who  were  all  artists 
—  David  Teniers,  the  Younger,  is  the  most  re- 
nowned. Seventeen  paintings  here  display  the 
versatility  of  this  remarkable  man,  the  last  repre- 
sentative of  the  great  traditions  of  the  17th  century. 

The  younger  Teniers  stands  in  a  peculiar,  inti- 
mate relation  to  the  Imperial  Museum,  because  of 
his  influence  in  the  choice  of  so  many  of  the  pic- 
tures which  are  now  on  its  walls,  as  has  been  ex- 
plained in  the  first  chapter.  No.  1161  is  the 
"  Gallery  Picture  "  which  is  mentioned  there.     We 


XEbe  jflemisb  an&  2)tttcb  paintings    us 

see  the  miniature  copies  of  fifty  of  the  pictures 
now  in  the  Museum  hanging  on  the  wall  of  the 
large  Brussels  Gallery.  Others  are  leaning  against 
chairs  on  the  floor,  and  before  a  Catena,  No.  20 
in  the  present  collection,  we  see  the  Archduke 
standing  in  conversation  with  his  court-painter. 

A  biblical  scene,  "Abraham's  Sacrifice"  (No. 
1155),  shows  that  such  subjects  were  not  congenial 
to  the  artist.  It  is  rather  mediocre,  and  an  evident 
imitation  of  Rubens,  wanting  in  all  elevation  of 
feeling  and  devoid  of  interest.  His  favourite  sphere 
was  the  illustration  of  subjects  of  e very-day  Hfe, 
the  animated  delineation  of  the  peasant- world  under 
the  most  varying  forms,  while  his  delicate  feeling 
for  nature  enabled  him  to  give  his  landscapes  the 
true  rural  flavour.  A  number  of  such  subjects  are 
found  here,  as  **  Dancing  Peasants"  (No.  1156), 
a  rustic  "Wedding  Party"  (No.  1160),  and  other 
scenes.  The  most  important  example  is  his  "  Bird- 
shooting  at  Brussels"  (No.  1158),  an  annual  cele- 
bration in  the  capital,  here  witnessed  by  the  Arch- 
duke. A  large  multitude  is  gathered,  and  is  de- 
picted with  great  animation  and  minute  care.  It 
has  the  golden  tone  to  which  Teniers  reverted  after 
having  for  a  half  dozen  years  most  successfully 
experimented  with  a  silvery  undertone. 

His  scenes  from  the  realms  of  fancy,  such  as 
witches  and  incantations,  especially  in  the  Tempta- 


ii6     XCbe  art  of  tbe  IDienna  ©alleries 

tion  of  St.  Anthony,  are  not  found  here.  Teniers 
was  influenced  in  painting  such  through  the  example 
of  his  uncle  "  Hellish  "  Breughel. 

David  Ryckaert,  the  Younger,  is  closely  related 
to  Teniers,  for  he  was  his  pupil  —  but  one  of  orig- 
inal and  individual  conception.  The  turbulent 
scene  in  his  "  Kirmess  "  (No.  1127),  the  strength 
and  energy  in  his  '*  Plundering  of  a  Village ''  (No. 
1133),  or  the  "  Scholar  in  his  Study  "  (No.  1131), 
the  "  Kitchenmaid "  (No.  1129),  the  "Witch" 
(No.  1128)  — they  all  denote  no  mean  talent. 

Only  one  small  panel  represents  the  work  of 
Adriaen  Brouwer,  a  Fleming  by  birth,  but  a  pupil 
of  the  Haarlem  Frans  Hals.  This  is  a  "  Drinking 
Peasant"  (No.  1135.  Plate  XIV).  This  simple 
figure  is  a  characterisation  full  of  vitality,  beauti- 
fully painted.  It  is  splendid  in  drawing,  without 
the  carelessness  often  seen  in  the  figures  in  his 
interiors  of  the  pothouse. 

In  Gallery  XI  we  find  grouped  the  later  Flem- 
ings with  some  Dutchmen.  The  loss  of  national, 
racial  characteristics  by  the  Flemings,  and  their 
submission  to  French-Italian  influences  becomes 
painfully  apparent. 

Still  retaining  the  old  traits  are  the  animal 
paintings  of  Jan  Fyt,  whose  still  lives  of  game  and 
fruit  (Nos.  1171-1174)  are  often  to  be  favourably 
compared  with  the  work  of  Frans  Snyders.    Animal 


ADRIAEN 
BROUWER 


DRINKING    PEASANT 
Plate  XIV 


XTbe  iflemisb  an&  Dutcb  paintings    117 

life,  generally  in  deadly  combat,  is  rendered  by 
Jan  van  Kessel;  while  his  son,  Ferdinand  van 
Kessel,  has  comic  portrayals  of  monkeys  and  cats 
in  human  actions,  quite  natural  and  without  making 
the  humour  too  broad  or  obvious.  The  two  pic- 
tures ascribed  to  him  (Nos.  1182  and  1183), 
painted  on  copper,  are  by  Frimmel  thought  to  be 
the  work  of  Abraham  Teniers,  whose  fancy  often 
found  a  like  humourous  expression.  The  two 
brothers,  von  Hamilton,  Philip  Ferdinand  and 
Johann  George,  both  employed  as  court-painters 
in  Vienna,  also  rendered  the  trophies  of  the  hunt. 

In  Philippe  de  Champaigne  we  find  an  echo  of 
the  French  Academy,  which  was  in  his  time  assu- 
ming some  prominence.  ''  The  Death  of  Abel " 
(No.  1170)  plainly  shows  the  Academy's  leaning 
towards  classicism  from  the  very  beginning  of  its 
existence.  The  large  romantic  landscapes  (Nos. 
1167-1169),  by  Jacques  d'Arthois,  despite  all  their 
abundance  of  colour,  cannot  hide  a  certain  empti- 
ness of  motif;  while  the  Italian  landscapes  (Nos. 
1215-1217),  by  Frans  van  Bloemen,  called  Orizonte, 
are  but  poor  imitations  of  Gaspard  Poussin. 

The  presence  in  this  Gallery  of  the  Fyts  and 
Hamiltons  has  probably  led  to  the  placing  here 
of  the  still  lives  by  the  Hollanders  Melchior  d'Hon- 
decoeter  and  Jan  Weenix,  which  offers  us  an 
opportunity     for    critical     examination    of    their 


ii8     XCbe  Hrt  ot  tbe  IDienna  ©allerfes 

method  of  execution,  and  of  comparison  between 
those  Flemish  and  Dutch  masters. 

A  number  of  other  Dutchmen  complete  our  sur- 
vey of  this  Gallery.  Some  are  later  men  than 
those  we  shall  study  further  on,  and  all  are  of 
secondary  importance. 

Cornelis  yan  Poelenburgh  followed  the  minute 
technique  of  the  German  Adam  Elsheimer,  the  idol 
of  so  many  Holland  painters,  but  who  lacked 
breadth  and  force.  Poelenburgh's  most  character- 
istic works  are  little  panels  with  bathing  women 
in  a  charming  landscape,  of  which  No.  1251  is  a 
representative  example. 

All  the  pupils  of  the  Utrecht  artist  Abraham 
Bloemaert,  of  whom  Poelenburgh  was  one,  were 
advised  by  their  master  to  go  to  Italy.  Gerard 
van  Honthorst  went,  and  became  fully  oriental- 
ised. For  his  night-scenes  with  burning  candles 
he  was  called  Gherardo  della  Notti  —  a  good  exam- 
ple of  this  genre  is  his  "  St.  Jerome  "  (No.  1243). 

Another  Hollander  who  received  an  Italian  name 
was  Pieter  van  Laer,  called  Bamboccio.  By  him 
we  have  a  peasant's  festival  on  the  Roman  Cam- 
pagna  (No.  1240).  The  best  of  these  artists,  per- 
haps, was  Cornelis  Herman  Saftleven,  but  he  also 
preferred  scenes  beyond  the  borders  of  his  own 
country,  as  his  passages  from  the  Rhine  valley 
show  (No.  1224-1228). 


MIEREVELT 


MAN'S    PORTRAIT 
Plate  XV 


Imperial 
Museum 


XTbe  iflemisb  an&  2)utcb  Ipaintings    119 

Cabinet  XIII  offers  much  of  far  greater  im- 
portance. We  meet  at  once  two  men  whose  work 
is  exceedingly  rare.  The  one,  Jacob  Willemsz  Delff, 
painted  "Esau  and  Jacob"  (No.  1256),  in  which 
the  posing  attitude  of  the  figures  is  forgotten  in 
the  portraitHke  quaHties  of  the  faces.  The  other 
rare  work  is  by  Hendrik  Avercamp,  of  whom  only 
one  example  is  found  in  all  of  the  Netherland  Gal- 
leries. Here  we  find  a  *'  Winter  Landscape  "  (No. 
1267)  that  possesses  the  same  striking  qualities  of 
naturalism  as  the  one  in  Amsterdam.  Of  the  three 
landscapes  by  Aert  van  der  Neer,  only  two  are 
characteristic  examples,  especially  the  *'  Moonlight " 
(No.  1261).  A  "Watery  Landscape"  (No.  1260) 
seems  to  me  of  doubtful  attribution. 

One  of  the  forerunners  of  the  great  17th  century 
portrait  school  was  Michiel  Jansz.  Mierevelt.  Plate 
XV  shows  his  "Man's  Portrait"  (No.  1258),  of 
strong  characterisation  and  excellent  painting 
quality.  Only  one  example  is  found  here  (in  the 
third  division  of  the  Cabinet)  of  Frans  Hals. 
It  is  the  "  Portrait  of  a  Young  Man  "  (No.  1297) 
which,  although  it  bears  his  cachet,  does  not  belong 
to  his  best  works. 

The  greatest  genius  of  that  century  is  represented 
by  seven  canvases,  all  portraits  —  for  the  "  Apostle 
Paul  "  (No.  1270)  is  more  of  a  portrait  of  a  model 
than  an  ideal  representation. 


I20     TEbe  Hrt  of  tbe  IDIenna  ©alledea 

Rembrandt  combines  the  highest  quahties  of  a 
painter,  an  artist,  and  a  man.  He  was  a  genius 
of  supreme  power,  in  technical  execution,  briUiancy 
of  colour-sense,  and  elevation  of  thought.  He  was 
the  Beethoven  of  the  brush. 

Two  self-portraits  here  are  physiognomic  reve- 
lations of  the  master's  character.  One  (No.  1274), 
painted  about  1658,  bears  the  traces  of  the  economic 
struggles  through  which  he  had  passed;  the  other 
(No.  1268)  shows  him  in  his  last  years,  with  the 
deep  furrow  between  the  eyes  of  painful  thought. 
His  had  been  an  eventful  life,  in  which  he  saw  the 
sun  of  popularity  sink  beneath  the  clouds  of  neglect, 
and  the  prosperity  which  his  genius  brought  him 
melt  away  through  the  overwhelming  debts  of  his 
careless  management.  And  we  can  never  forget 
how  the  devotion  of  his  friend  Hendrikje  Stofifels 
comforted  him  in  his  declining  years,  and  enabled 
him  to  illuminate  his  works  with  the  power  of  his 
genius  until  the  end  came. 

At  the  very  beginning  of  his  Amsterdam  career, 
when  but  thirty  years  old,  he  painted  the  magnificent, 
regal  portraits  of  a  man  and  a  woman  (Nos.  1271 
and  1272).  Here  we  find  still  the  attention  to  de- 
tail in  which  his  brush  plays  caressingly  with  the 
articles  of  finery,  without  neglecting  that  soulfulness 
of  expression  which  he  never  omitted.  Only  a  few 
years  later,  in  1639,  came  that  portrait  which  to 


REMBRANDT 


PORTRAIT    OF    HIS    MOTHER 
Plate  XVI 


Imperial 

Museum 


Ube  jflemiBb  anb  2)utcb  paintings    121 

me  has  always  been  the  greatest  portrait  of  old  age 
ever  painted,  the  **  Portrait  of  his  Mother"  (No. 
1273).  Neither  Plate  XVI,  nor  any  of  the  many 
reproductions,  whether  from  steel  or  copper  or  light- 
print,  will  ever  give  the  vividness  of  that  ebbing 
life,  the  breath  of  reality,  that  chord  of  human 
sympathy  which  one  feels  tightening,  when  standing 
before  this  marvel  of  the  painter's  art. 

Also  the  "  Apostle  Paul,"  already  mentioned, 
dates  from  this  time;  while  the  "  Reading  Youth  " 
(No.  1269),  a  portrait  recognised  by  Bode  to  be 
of  his  son  Titus,  is  of  a  later  period. 

Fellow-pupil  with  Rembrandt  in  the  Pieter 
Lastman  studio  was  Jan  Lievens,  who  painted  his 
friend  "Rembrandt  as  a  Youth"  (No.  1278), 
around  which  Jan  van  den  Hoecke  painted  a  wreath 
of  flowers.  The  maturer  talent  of  Lievens  is  seen 
in  the  "  Portrait  of  an  Old  Man  "  (No.  1277). 

One  of  the  first  pupils  who  came  to  Rembrandt's 
studio  in  Amsterdam  was  Govaert  Flinck,  whose 
work  is  often  ascribed  to  the  greater  master.  No. 
1279  is  a  portrait  of  an  old  man  by  Flinck.  One 
of  the  last  who  learned  from  Rembrandt,  when  the 
master  had  gone  into  retirement  on  the  Rozengracht, 
was  Aert  van  Gelder,  whose  "  Man's  Portrait " 
(No.  1276)  is,  however,  considered  by  Bode  and 
by  Hofstede  de  Groot,  both  the  most  eminent  critics 
of  Rembrandt's  work,  to  be  a  badly  preserved  work 


122     xrbe  Htt  of  tbe  ©ienna  ©alleties 

by  Rembrandt  himself.  Another  pupil  of  the  mas- 
ter was  Samuel  van  Hoogstraten,  the  Vasari  of 
the  Dutch  school.  While  on  a  visit  to  Vienna  he 
painted  a  view  of  the  Burgplatz  (No.  1281),  en- 
livened with  many  figures,  seen  from  the  Sweizer- 
hof.  More  important,  however,  is  his  "  Man  at 
the  Window"  (No.  1282),  a  brilliantly  painted 
face  that  looks  out  of  the  casemated  window  with 
startling  vividness. 

The  Dutch  peasant  painters  of  that  golden  cen- 
tury are  represented  each  by  one  or  two  pictures. 
Foremost  stands  Adriaen  van  Ostade,  with  his 
favourite  subject  of  the  ''Quack  Dentist"  (No. 
1302).  Other  pictures  of  like  scenes  of  village  Hfe, 
or  tavern  interiors,  are  by  Cornelis  Bega,  Pieter 
Verelst,  Pieter  Quast,  Jan  Miense  Molenaer,  and 
Richard  Brakenburgh.  Cornelis  Dusart,  while 
choosing  similar  topics,  had  more  refinement  in 
execution,  as  may  be  seen  in  "  Peasants  before  an 
Inn"  (No.  1301). 

A  few  years  ago  a  legacy  enriched  the  Museum 
with  a  fine  example  of  Pieter  de  Hooch,  "  The 
Mother  "  (No.  1299a).  This  painting  has  his  well 
known  juxtaposition  of  outdoor  light  with  interior 
light,  in  the  rendering  of  which  de  Hooch  has  never 
been  excelled. 

De  Hooch  had  two  styles.  The  pictures  in  his 
first  manner,  most  of  which  were  painted  before 


Zbc  iFlemisb  an&  H)utcb  paintings    123 

1665,  are  especially  bright  and  luminous.  Of  this 
character  we  shall  see  a  notable  example  in  the 
Academy  Gallery.  After  1665  he  seems  to  have 
preferred  to  leave  a  large  part  of  his  compositions 
in  obscurity,  showing  the  bright  light  of  the  sun 
outside  only  through  some  open  door  or  window 
in  the  background.  Of  this  "  The  Mother  "  bears 
evidence.  The  contrast  between  light  and  shadow 
is,  however,  not  carried  as  far  as  in  the  pictures 
which  he  painted  towards  the  end  of  his  life,  where 
the  figures  in  the  dense  shadows  sometimes  become 
even  difficult  to  distinguish.  To  him  human  life 
was  not  half  as  interesting  as  the  life  of  the 
sunshine. 

A  still  more  recent  acquisition,  not  yet  catalogued, 
is  a  fine  little  conversation  piece  by  Dirk  Hals,  whose 
work  is  comparatively  rare. 

Cabinet  XII  continues  our  interest  in  the 
great  school.  The  social  gatherings  of  the  beau 
monde,  usually  pictured  by  Jacob  A.  Duck,  Pieter 
Codde,  and  Palamedes,  all  men  trained  in  the  studio 
of  Frans  Hals,  are  not  considered  to  be  of  supreme 
importance,  and  we  cannot  give  very  high  praise 
to  the  examples  shown  here  —  of  Jacob  Duck  a 
**  Palace  Robbery"  (No.  1303),  and  by  Palamedes 
a  "Cavalry  Engagement''  (No.  1306). 

Our  attention  is  arrested  by  two  magnificent 
and  characteristic  examples  of  the  great  painter- 


124     ^be  Hrt  of  tbe  IDtenna  ©alleries 

philosopher  Jan  Steen.  No.  1304  shows  a  ''  Peasant 
Wedding,"  where  the  bridal  couple  under  shouting 
and  merriment  of  the  guests  are  being  conducted  to 
their  chamber.  No.  1305  pictures  one  of  Steen's 
profound,  but  droll  harangues  on  the  end  of  a 
squanderous  life.  The  types  which  the  artist  gives 
in  his  pictures  are  inimitable  —  here,  the  young 
spendthrift,  the  girl  who  helps  him  lose  his  money, 
the  old  beldame,  and  the  notary  already  making  an 
inventory  of  what  is  left.  All  these  are  placed  in 
a  room  of  extravagant  disorder,  with  exquisite 
humourous  touches  —  note  the  duck  on  the  notary's 
humpback. 

The  works  of  two  architectural  painters.  Dirk 
van  Delen  and  Jan  van  der  Heyden  hang  in  this 
section. 

The  nascent  feeling  for  landscape  reached  its 
height  in  Holland  in  the  17th  century.  The  Renais- 
sance in  Italy  had  given  birth  to  a  few  men  who 
gazed  with  curious  delight  upon  the  earth  and  its 
verdure;  and  Titian,  Giorgione,  Raphael  and 
Leonardo  had  already  attempted  with  great  ability 
and  beauty  to  portray  landscape,  although  in  de- 
pendence and  subserviency  to  human  motives. 
Claude  and  the  Poussins  had  carried  this  farther, 
but  still  it  seemed  as  if  the  human  interest  had  to 
help  out,  so  to  speak,  to  make  landscape  attractive. 
It  remained  for  the  Dutch  of  the  17th  century  to 


»  c^  o*:  •  f. 


Ube  3flemi9b  an5  ©utcb  paintings    125 

show  that  landscape  might  be  treated  as  an  object 
in  itself,  worthy  of  our  sympathy  and  admiration, 
independent  of  any  human  interest.  And  the  spirit 
of  the  artists  who  perceived  the  beauty  of  earth, 
sea  and  sky  commenced  to  interpret,  preserve  and 
convey  these  beauties  to  the  spirit  of  men  ready  to 
receive  it. 

The  Dutch  landscapists  of  that  century  are 
sparsely  but  worthily  shown.  By  Jan  van  Goyen 
there  is  a  fine  landscape  (No.  1313),  in  which 
Wouwerman  painted  some  animals.  The  flat 
stretch  of  ground,  unbroken  by  trees,  has  neverthe- 
less, through  its  light  and  local  colour,  a  picturesque 
appearance. 

Allart  van  Everdingen  has  one  of  his  turbulent 
scenes  of  a  waterfall  rushing  over  the  mill-wheel, 
with  equally  turbulent  sky  (No.  1312).  These 
scenes,  so  popular  in  his  day  because  their  pictur- 
esque locality  was  entirely  unknown  in  flat  Holland, 
led  Jacob  van  Ruisdael  to  change  his  subjects  from 
the  flat  stretches  of  the  Dutch  lowlands  to  those 
with  falling  water.  It  did  not  profit  him  much,  for 
this  greatest  of  all  Dutch  landscapists  was  not 
honoured  during  his  lifetime.  Three  fine  examples 
of  Ruisdael's  later  period  are  here  on  view  (Nos. 
1335-1337),  whereof  the  last,  "The  Great  Forest" 
(Plate  XVII),  is  the  most  important.  It  shows 
the  perfect  composition,  the  quiet,  deep  colour,  the 


126     Ube  Htt  of  tbe  iPienna  Galleries 

breath  of  atmosphere  which  signalises  all  his 
work. 

Jan  Wynants,  although  older  by  three  years,  was 
still  a  pupil  of  Ruisdael,  whose  influence  is  visible 
in  ''Entrance  to  the  Woods''  (No.  1310),  and  in 
a  "Landscape"  (No.  1311)  with  a  heavily  clouded 
sky  overhead. 

Ruisdael's  greatest  pupil,  Meindert  Hobbema,  is 
represented  by  a  small  panel,  a  "  Wooded  Land- 
scape "  (No.  1324),  which  shows  his  brighter  spirit 
and  more  lyric  vein  of  poetic  thought.  Two  small 
landscapes  with  cattle  (Nos.  1330  and  1331),  by 
Adriaen  van  de  Velde,  the  pupil  of  Paul  Potter, 
are  worthy  of  mention. 

The  17th  century  Dutch  landscape  school  should 
be  divided  in  two  parts  —  the  men  with  breadth 
of  touch  and  largeness  of  vision,  and  those  who  in 
technique  followed  the  conventions  of  the  so-called 
Little  Masters  in  fineness  of  brushwork  and  elabora- 
tion of  detail.  Some  of  these  were  still  echoing 
the  powerful  influence  of  Adam  Elsheimer,  or  lis- 
tened to  other  foreign  inspiration.  Five  works 
(Nos.  1319-1323),  by  Nicolaas  Berchem,  give  the 
proper  view  of  this  class.  Karel  Dujardin  has  done 
better  work  than  we  see  in  the  little  cattlepiece  (No. 
1332).  Jacob  van  der  Does  was  Italianised  (see 
No.  1317),  while  Johannes  Lingelbach  followed 
closely  Elsheimer's  convention,  although  this  is  not 


XTbe  flcmisb  an5  Dutcb  Ipatntfngs    127 

so  obtrusive  in  the  "Sea-harbour''  (No.  1343). 
Frederik  de  Moucheron  has  two  landscapes  (Nos. 
1344  and  1345)  of  secondary  importance. 

PhiHp  Wouwerman  combined  his  notable  land- 
scape art  with  unexcelled  proficiency  in  painting 
the  horse,  to  which  five  examples  bear  abundant 
evidence.  His  pupil,  Jan  van  Hughtenburg,  fol- 
lowed him  in  more  animated  scenes  of  equestrian 
conflict  (No.  1346). 

Here  also  are  some  notable  examples  of  the 
marine  painters,  Simon  de  Vlieger,  Reinier  Nooms, 
called  Zeeman,  Jan  van  de  Capelle,  and  Ludolf 
Bakhuyzen. 

With  Cabinet  XI  we  reach  the  still  life 
painters.  In  chronological  order  we  note  the  work 
of  Jan  Davidsz.  de  Heem,  and  of  his  son  Cornelis 
de  Heem;  of  Abraham  van  Beyeren,  best  known 
as  a  painter  of  fish;  the  fiowerpiece  (No.  1355)  of 
Maria  van  Oosterwyck;  a  magnificent  fruitpiece 
by  Juriaen  van  Streek,  a  man  rarely  met  with ; 
a  work  by  the  great  flower  painter  Rachel  Ruysch; 
and  two  flowerpieces  by  the  last  one  of  the  school, 
Jan  van  Huysum. 

Small  panels  by  the  earlier  Dutch  Little  Masters 
furnish  the  second  division  of  this  Cabinet;  the 
third  division  contains  German  works.  Only  a 
few  of  these  Little  Masters  are  here  represented, 
butisome  of  these  examples  are  of  great  importance. 


128     Ubc  Htt  of  tbe  IDienna  Galleries 

Rembrandt's  first  pupil,  while  himself  a  youth  in 
Leyden,  was  Gerard  Dou,  who,  indeed,  learned  the 
rudiments  of  his  art  from  Rembrandt,  and  also  the 
principles  of  light-painting,  but  in  both  instances 
applied  these  in  a  manner  far  different  from  his 
master.  His  enamel-like  work  and  minute  finish  is, 
notwithstanding,  broad  in  conception  and  wonder- 
fully satisfying.  Nos.  1376-1378  are  worthy  ex- 
amples. "The  Physician''  (No.  1377)  is  excep- 
tionally fine.  It  has  his  oft-repeated  setting  —  a 
window  arched  at  the  top  and  decorated  beneath 
the  sill  with  a  bas-relief  of  children  playing  with  a 
goat.  A  heavy  blue  silk  curtain  drawn  to  one  side 
reveals  a  room  in  which  the  figure  of  the  young 
physician  shows  in  strong  relief  against  the  dark 
background.  An  old  woman  in  sombre  clothes 
stands  by  a  side-window  wiping  her  eyes.  The 
bright  touches  of  colour  —  the  yellow-bordered  pur- 
ple cloak  of  the  doctor,  the  brass  barber's  basin  on 
the  tapestry  that  hangs  over  the  sill,  the  richly 
decorated  decanter  incased  in  silver,  are  all  painted 
with  marvellous  delicacy. 

Not  very  different,  only  somewhat  larger  in  his 
compositions,  is  the  work  of  the  aristocratic  Gerard 
Terborch,  who  shows  here  a  "  Young  Woman 
peeling  Apples"  (No.  1366),  a  household  occu- 
pation of  which  the  Dutch  ladies  were  not  ashamed. 
There  is  an  indescribable  charm  in  the  simplicity 


Ubc  flemish  an5  H)utcb  paintings    129 

of  this  subject,  the  exquisite  harmony  of  colours, 
and  the  faithful  reproduction  of  all  details.  The 
young  woman  wears  a  pearl-grey  dress  and  yellow 
jacket  bordered  with  white  fur.  A  hood  drawn 
over  her  head  frames  the  cheerful  features  with 
the  ripe,  red  lips.  The  background  is  a  wall  of 
neutral  grey,  against  which  a  map  is  hanging  such 
as  we  always  see  in  Vermeer  van  Delft's  pictures. 
The  foreground  is  enlivened  by  the  strong  colours 
of  various  articles  of  still  life  —  the  brilliant  blue 
tablecover,  the  silver  candlestick,  the  appledish  and 
the  basket  of  white  linen.  More  attractive  still  is 
the  little  girl  who  stands  expectantly  watching  for 
a  ''  taste." 

Of  all  that  group  of  Dutch  genre  painters  —  for 
whom  the  interest  of  a  household  scene  lay  less 
in  the  accuracy  with  which  they  could  reproduce 
the  mise-en-scene  than  in  the  finer  fidelity  with 
which  they  could  note  an  expression  and  record  a 
gesture  —  the  most  pregnant,  the  most  fruitful  was 
Terborch,  one  of  the  earliest.  He  may  be  called  the 
discoverer  of  this  new  art  of  keen  social  observation 
which  recorded  subtly,  exactly,  intimately  the  life 
and  doings  of  the  people.  Terborch  chose  the  better 
class  of  that  formal,  self-satisfied  bourgeois  society 
which  grows  up  in  provincial  cities ;  as  others  chose 
peasants  or  artisans  for  their  models.  And  even 
in  a  trivial   subject  he   infused   a  distinction,   an 


130     Zbc  Hrt  of  tbe  IPienna  Galleries 

elegance,  an  irreproachable  perfection  that  raises  his 
work  to  the  highest  plane. 

A  copy  of  his  famous  "  Young  Lady  writing  a 
Letter/'  of  the  Ryksmuseum  of  Amsterdam  is  here 
as  No.  1365. 

Gabriel  Metsu  was  also  one  of  the  Little  Masters, 
and  of  no  mean  talent,  as  his  "  Lace- worker  "  (No. 
1370)  testifies;  while  Godfried  Schalcken,  Don's 
pupil,  followed  his  master's  style  —  as  far  as  he 
was  able.  His  "Old  Man  Reading"  (No.  1364) 
has  one  of  the  candle-light  effects  that  are  associated 
with  his  name.  One  of  the  latest  of  the  really  great 
painters  was  Frans  van  Mieris,  the  Elder,  also  a 
pupil  of  Dou,  and  perhaps  the  most  talented  one. 
Three  small  pictures,  one  on  copper  (No.  1380), 
showing  the  likeness  of  a  man,  indicate  that  in 
subject  matter  he  followed  more  Jan  Steen's 
humour,  of  which  a  ''Lady  and  her  Physician" 
(No.  1381)  is  a  capital  example.  With  his  son, 
Willem  van  Mieris,  we  note,  however,  the  decay 
of  Dutch  art.  His  technique  becomes  too  smooth, 
his  colour  cold.  His  examples  (Nos.  1383-1385) 
are  but  a  faint  echo  of  the  glories  that  are  past. 
Dutch  art,  also,  died  through  the  imitation  of 
foreign  examples,  and  the  loss  of  personal,  indi- 
vidual power. 


CHAPTER    V 

THE   EARLY   GERMAN    PAINTERS 

From  Cabinet  XI  we  will  enter  Gallery 
IX,  and  we  find  ourselves  in  surroundings  that  are 
widely  different  from  the  grace  of  the  Italians  and 
the  harmonious,  deep  colour  of  the  Dutch  —  the 
Early  German  painters  are  shown  here. 

The  influence  of  national  traits  of  character  and 
national  experiences  upon  the  art  expression  of 
a  people  is  too  much  lost  sight  of.  The  dicta  ''  Art 
is  cosmopolitan,"  "  there  are  no  national  boundaries 
in  art,"  and  the  like,  are  bandied  about  frequently, 
but  thoughtlessly.  No  one  can  deny  that  the 
changes  in  Italian  art  of  pre-Renaissance,  Renais- 
sance, and  post-Renaissance  periods  were  greatly 
influenced,  if  not  caused,  by  the  social  conditions 
of  the  people,  by  the  changing  power  of  the  Church, 
the  division  into  small  republics,  the  effect  of  en- 
croaching Spanish  dominion,  the  growth  of  Venetian 
wealth  and  luxury,  and  so  on.  So  we  may  note 
that  the  almost  dramatic  changes  in  French  history 
forced,  according  to  these  changes,  a  reflex  in  the 

131 


132     TLbc  Hrt  of  tbe  Uienna  (Balleries 

pompous  art  of  Rigaud,  the  gay  gallantry  of 
Watteau  and  his  school,  the  stern  classicism  of 
David.  And  we  find  the  race  speaking  through  the 
sincere  self-contained  panels  of  the  Dutch  Little 
Masters;  while  the  peculiar  atmospheric  condition 
of  the  lowlands  was  the  significant  inspiration  of 
Dutch  landscape  art. 

Thus  we  find  in  early  German  art  a  distinct  factor 
at  work  that  specialises  this  art  from  that  of  other 
nationalities.  For  instance,  in  Italy  the  Church  was 
the  first  employer  of  artists  and  demanded  more  or 
less  explicitly  the  glorification  of  itself  and  its  doc- 
trines. The  reactionary  fervour  against  paganism 
often  regarded  beauty  as  a  snare,  and  strove  to  wean 
the  hearts  of  the  people  from  terrestrial  delights. 
Thus  sacred  art  in  Italy  became  principally  a  mouth- 
piece for  polemics  and  ecclesiastical  traditions.  But 
in  Germany  it  was  apparent  that  the  seeds  of  the 
great  upheaval,  the  Reformation,  were  sown  genera- 
tions before  it  burst  forth  —  and  early  German  art 
shows  this.  From  the  very  beginning  we  note 
rebellion  against  priestly  dominion.  The  artists  did 
not  paint  as  the  Church  taught,  but  as  they  them- 
selves thought.  Independent  minds  were  led  in 
humanitarian  channels  —  art  was  ethic,  not  dog- 
matic. And  although  the  first  instruction,  of  course, 
came  from  Italy  and  bore  its  characteristics,  these 
traditional  forms  were  soon  altered  to  realise  native 


Ubc  EarlB  (Berman  {painters         133 

surroundings,  to  make  even  sacred  themes  applicable 
to  the  people  and  not  to  doctrines.  It  was  the  spirit 
of  individualism,  peculiar  to  the  Northern  peoples, 
already  manifest  in  Holland,  and  even  more  strongly- 
marked  in  Germany.  Hence  Madonnas  became 
idealised  Teutonic  types,  as  buxom  and  often  as 
homely  as  the  village  frau;  and  when  King  David 
is  thirsty  and  one  of  his  generals  brings  him  water 
to  drink,  an  early  German  artist,  Konrad  Witz, 
shows  the  king  as  an  Elector-Palatine,  and  the 
general  as  an  armoured  knight. 

Another  indication  of  the  influence  of  surround- 
ings and  conditions  upon  art  is  to  be  seen  as  soon 
as  printing  was  invented.  Whether  it  was  invented 
in  Germany  or  elsewhere  matters  not;  the  fact 
remains  that  in  Germany  this  new  invention  was 
earliest  popularised;  and  not  only  for  the  printing 
of  letters,  but  also  of  pictures  from  engravings,  with 
wood-block  or  copper-plate.  Thus  the  painter- 
engraver  came  into  existence,  and  we  note  as  a 
consequence  the  greater  detail  of  line  when  the 
artist  worked  with  the  brush,  which  has  remained  a 
typical  trait  of  German  art  ever  since.  So  is  anec- 
dotal, illustrative  painting  nothing  but  an  expression 
of  a  racial,  Teutonic  characteristic. 

German  art  began  in  the  14th  century,  inspired 
by  Italy,  influenced  by  France,  and  owing  its  tech- 
nique to  the  Netherlands.    It  developed  in  depth  and 


134     Ube  art  of  tbe  IDfenna  (Balleriea 

breadth  through  the  15th  century,  and  in  the  16th 
century  commenced  to  show  real,  individual 
strength;  but  the  17th  and  18th  centuries  are  blank 
pages  in  its  history. 

It  is  to  be  regretted  that  the  three  earliest  works 
of  German  art,  which  for  a  century  hung  in  the 
old  Belvedere,  have  since  1901  been  removed  to  the 
Imperial  castle  Karlstein.  These  were  three  primi- 
tive examples  of  the  work  of  the  so-called  Meister 
von  Prag,  who  was  active  in  1348-1367. 

The  earliest  work  we  find  here  now  is  a  panel 
showing  the  *' Holy  Family"  (No.  1478),  and 
catalogued  as  German  school,  second  half  of  the 
15th  century.  This  picture  must  from  internal  evi- 
dence be  assigned  to  the  first  half  of  that  century, 
and  to  the  Basel  artist,  Konrad  Witz,  whose  style 
seems  to  have  been  founded  on  that  of  the  Master 
of  Flemalle,  Jules  Daret.  The  monogram  MS.  on 
the  panel,  evidently  referring  to  Martin  Schongauer, 
is  indubitably  forged.  To  the  right  we  see  the  be- 
diademed  Madonna  with  the  Child,  in  a  dark  fur 
garment,  at  her  side.  Joseph  stands  to  the  left 
handing  the  child  a  pear.  There  is  a  feeling  for 
light-effect  such  as  the  school  of  van  Eyck  had 
originated.  Although  the  foreshortenings  are  in- 
exact, the  attempt  to  solve  this  problem  is  striking; 
but  there  is  an  exaggeration  of  the  sharp  and 
angular  lines  in  the  voluminous  folds  of  drapery, 


■  ""'^  »^.-^''  i 

^  ^  'A. 

W^:-''s^'Mmmik:     ^: 

^Ufcteq?!-:.  ^^1 

iP  'W 

'  '    1 

^ 

•« 

jy'-^^^ 

HOLY    FAMILY 

MARTIN 

Imperial 

SCHONGAUER 

Plate  XVIII 

•    Museum 

XTbe  Earls  ©erman  painters         13s 

which  the  early  Grerman  painters  adopted  in  imita- 
tion of  the  sculpture  of  that  period.  The  absence  of 
any  mysticism,  and  the  material,  naturalistic  manner 
of  presentation  must  be  noted. 

Only  a  little  later  is  the  origin  of  a  "  Crucifixion  " 
(No.  1396),  by  Meister  Pfenning,  who  according 
to  the  date  on  the  panel  was  active  in  1449,  most 
probably  in  Nuremberg.  There  is  a  dramatic  juxta- 
position in  the  group  under  the  crosses  of  the  two 
thieves,  fully  expressive  of  the  warring  factions  that 
were  gathered.  These  people  are  dressed  in  a 
curious  mixture  of  German  and  oriental  costumes. 
All  is  dominated  by  the  high  centre-cross  with  its 
burden  of  woe,  and  the  group  of  sorrowing  women 
in  the  foreground.  The  types  of  faces  are  far  more 
realistic  and  less  archaic  than  is  seen,  even  at  that 
time,  in  Italian  works. 

By  Martin  Schongauer  we  find  here  a  small  panel 
showing  a  "Holy  Family"  (No.  1490.  Plate 
XVIII),  which  is  beyond  doubt  one  of  the  few 
known  pictures  by  his  own  hand.  The  influence 
of  the  Netherland  school,  as  it  was  then  felt  through- 
out Germany,  is  very  manifest.  There  is  the  same 
realism,  or  rather  humanism  we  might  call  it,  which 
characterises  the  works  of  the  van  Eycks  and  of 
van  der  Weyden. 

Schongauer,  the  son  of  a  goldsmith,  was  princi- 
pally active  as  an  etcher,  which  gave  his  style  much 


136     Ube  Hrt  of  tbe  IDienna  (Ballerfes 

vigour  and  feeling  in  the  line.  He  was  the  principal 
figure  among  the  Colmar  painters,  who  constituted 
in  Suabia  a  school  of  almost  equal  importance  with 
the  school  of  Cologne. 

The  so-called  monogrammist  R.F.  has  lately  been 
identified  as  Rueland  Frueauf,  a  painter  who  was 
active  in  Passau  and  Salzburg  from  1471  until 
1484.  Four  sacred  pictures  (Nos.  1397-1400) 
show  narrative  qualities  without  deep  spiritual 
feeling. 

That  German  art  possessed  the  germ  of  its  own 
greatness,  without  being  for  long  in  need  of  foreign 
inspiration,  is  proved  by  the  appearance,  thus  early, 
of  that  original  genius  who  well  may  be  named  in 
one  breath  with  Titian  and  Rembrandt  —  Albrecht 
Diirer. 

The  theory  that  has  been  propounded  as  to  racial 
traits  in  art  expression,  and  the  manifestation  of 
national  characteristics  in  the  work  of  artists,  as 
well  as  the  theory  of  the  influence  and  dominating 
stamp  of  particular,  crucial  eras  in  a  nation's  life, 
is  in  no  artist  so  plainly  and  markedly  demonstrated 
as  in  Diirer,  the  most  representative  artist  of  Ger- 
many. It  is  demonstrated,  not  alone  by  his  work 
as  a  painter,  but  perhaps  even  more  clearly  in  his 
wood-engravings,  a  branch  of  art  which  then  held 
a  strong  place  of  influence  in  the  culture  of  his 
time. 


Ube  lEarls  (Serman  painters         137 

All  the  qualities  of  Diirer's  art,  its  combination 
of  the  wild  and  rugged  with  the  homely  and  tender, 
its  meditative  depth,  its  enigmatic  gloom,  its  sin- 
cerity and  energy,  its  diligence  and  discipline  —  all 
these  are  qualities  of  the  German  spirit.  We  find 
in  him  a  definite  national  type;  a  Teutonic  always, 
with  stubborn  Gothic  elements,  and  most  powerfully 
impressed  by  that  consciousness  of  innate  force 
which  stirred  his  nation  during  his  lifetime,  as  it 
also  carried  Luther  in  its  maelstrom.  For  these  two, 
Luther  and  Diirer,  cannot  be  separated  in  spirit. 
They  manifested  each  the  same  combination  of 
adherence  to  tradition  and  to  the  struggle  for  liberty 
of  thought. 

We  miss  in  Diirer's  work  that  purity  and  sim- 
plicity of  form  which  gives  the  great  Italians  their 
high  rank.  Instead,  we  find  in  him  the  gravity,  the 
conscientiousness,  the  richly  imaginative  and  poetic 
traits  of  his  race.  He  inherited  the  hardness,  angu- 
larity and  ungraciousness  characteristic  of  the  school 
in  which  he  grew  up,  and  preferred  energy  and 
vitality  to  beauty.  But  although  there  is  this  harsh- 
ness and  ruggedness,  and  a  lack  of  grace  and  loveli- 
ness in  his  art,  through  its  very  uncouthness  shines 
the  glory  of  a  superb  and  heroic  genius.  In  his  love 
of  pure  craftsmanship  he  may  sacrifice  grace  to 
truth  —  there  is  still  a  quaint  mingling  of  austerity 
and  playfulness,  and  his  analytical  mind  in  its  de- 


138     Ubc  Hrt  of  tbe  IDienna  Oallerfes 

votion  to  detail  is  not  cramped,  as  it  follows  nature 
rather  than  soars  toward  the  ideal. 

As  a  draughtsman  Diirer  was  unrivalled  for  pre- 
cision, dexterity  and  variety;  his  human  figures, 
generally  without  grace  or  elegance,  are  vital  in 
expression;  his  landscape  is  more  picturesque  than 
grandiose;  and  all  is  imbued  with  the  spirituality 
of  his  nature  which  was  not  in  the  least  ascetic,  but 
generous  and  wholesouled. 

Being  much-travelled,  it  goes  without  saying  that 
outside  influences  are  to  be  noted  in  his  progress. 
Thus  we  see  after  his  return  from  Italy  that  he  had 
acquired  something  of  the  suavity  of  Venetian  art, 
without  abandoning,  however,  his  native  charac- 
teristics. These  works  of  his  so-called  second 
period,  of  which  we  will  see  some  famous  examples, 
ofifer  a  unique  blending  of  greater  polish  with  his 
racial  traits. 

No  less  than  five  of  the  seven  works  that  are 
displayed  in  the  Imperial  Museum  must  be  con- 
sidered among  Diirer's  masterpieces.  His  two 
Madonnas  show  at  once  a  difference  in  type,  of 
psychological  conception  from  the  Italian  Madonnas. 
The  frontispiece  of  this  volume,  picture  No.  1447, 
painted  in  1512,  "The  Madonna  of  the  Cut  Pear," 
in  which  Mary,  with  bent  head  and  sunken  eyes,  a 
sweet  expression  playing  around  the  corners  of  the 
mouth,  holds  the  Child,  that  looks  up  with  self- 


XTbe  JSavl^  (5erman  painters         139 

conscious  brightness.  It  holds  in  its  hand  a  partly- 
cut  pear  which  gives  the  picture  its  name.  It  is  a 
group  of  tender  sweetness,  not  at  all  suggesting  the 
halo,  but  such  a  mother  and  child  as  his  friend 
Luther  pictured  to  the  people.  The  painting  is  un- 
commonly limpid  and  harmonious,  the  flesh  tints 
are  rosy  in  the  lights  and  grey  in  the  shadows,  and 
the  hair  is  rendered  with  the  extremest  minuteness 
and  precision. 

The  Germanic  type  is  still  more  apparent  in  the 
''Mary  with  the  Child"  (No.  1442)— a  happy 
pair,  the  mother  smiling,  the  child  with  uncouth 
gesture  seeking  nourishment.  The  group  has  an 
indefinable  charm  of  purity  and  spiritual  reahty. 

The  painting  among  Diirer's  work  which  is  con- 
sidered pre-eminent,  as  is  the  '*  Nightwatch "  of 
Rembrandt,  and  the  "  Sistine  Madonna "  of 
Raphael,  is  the  large  "  Adoration  of  the  Holy 
Trinity"  (No.  1445).  It  is  an  altarpiece  which 
Diirer  painted  for  the  iron-founder  Matthias 
Landauer,  to  be  presented  to  the  Twelve  Brother- 
hood of  Nuremberg.  In  the  arch  of  the  canvas 
the  Father,  over  whom  the  Dove  floats,  holds  the 
crucified  body  of  the  Son.  Hosts  of  angels,  saints, 
prophets  and  martyrs  are  grouped  around  Him, 
resting  on  the  clouds  which  separate  them  from 
the  groups  of  believers  gathered  on  the  border  of 
a  lake.     These  are  the   Emperor,   Dukes,   Doges, 


140     TLbc  Hrt  ot  tbe  IDienna  Oalleries 

Pope,  Cardinals  and  Bishops,  together  with  knights, 
monks  and  peasants ;  and  the  grey  donor  in  a  black, 
fur-bordered  cloak  is  among  them.  This  is  a  mar- 
vellous painting  of  harmonious  colour,  impressive 
by  its  momentous  beauty. 

In  1585  the  Protestant  town-council  of  Nurem- 
berg robbed  Landauer's  almshouse  of  this  altarpiece, 
and  sold  it  to  the  Emperor  Rudolph  II  —  a  far  more 
sensible  act,  and  to  posterity  less  injurious,  than  the 
vandalic  destruction  of  priceless  works  of  art  during 
the  religious  riots  which  culminated  in  the  "  Image 
Storm,"  principally  in  the  Netherlands. 

A  pupil  of  Diirer  used  the  motives  of  this  paint- 
ing for  a  triptychon,  whereof  the  two  side- wings 
are  also  found  here  (No.  1440). 

In  1508  Diirer  painted  for  the  Elector  Frederick 
the  Wise,  of  Saxony,  a  canvas  entitled  "  The 
Martyrdom  of  Ten  Thousand  Christians  under  King 
Sapor  in  Persia  ''  (No.  1446).  However  oppressive 
and  horrible  the  vision  of  all  these  tormented  human 
beings  may  be,  one  is  still  impressed  with  the  mag- 
nificent grandeur  of  presentation.  Diirer  himself, 
accompanied  by  his  friend  Willibald  Pirkheimer,  is 
seen  passing  among  these  scenes  of  horror. 

Of  the  three  portraits  by  Diirer  found  here,  two 
at  least  may  be  reckoned  of  supreme  interest.  No. 
1443  is  the  famous  half-length  portrait  of  the 
Emperor  Maximilian  I,  painted  in  1518.     He  is  a 


Ube  jEarli?  German  painters         141 

grey,  old  man,  weary  of  the  cares  of  state,  but 
showing  worthy  dignity  of  mind  and  character,  and 
an  imposing  personahty  of  indomitable  will.  No. 
1448  shows  the  head  of  Johann  Kleeberger,  who 
was  born  in  Nuremberg  but  settled  as  merchant 
in  Lyons,  where  he  became  the  munificent  bene- 
factor of  that  city.  The  painting  is  executed  to 
look  like  a  cameo  bust  on  a  circular  shield,  which 
emphasises  the  sculpturesque  intensity  of  outline, 
and  the  powerful  expressiveness  of  features.  No. 
1444  presents  the  portrait  of  an  energetic  man, 
full  of  virility  and  dominant  force. 

A  fine  copy  (No.  1450)  hangs  here  of  Diirer's 
famous  picture,  his  "  Feast  of  the  Rose-garlands,'' 
the  original  of  which  is  now  in  the  monastery  of 
Strahow,  Prague.  Diirer  painted  this  important 
picture  in  Venice  in  1506,  for  a  German  commercial 
society,  as  an  altarpiece  for  their  chapel.  It  pro- 
cured him  the  admiration  of  the  Italian  artists,  who 
had  regarded  him  merely  as  a  skilful  wood-engraver, 
but  had  derided  his  talent  for  painting.  The  figure 
of  the  Madonna  is  thoroughly  German  in  concep- 
tion and  spirit,  yet  the  influence  of  the  painter's 
Venetian  stay  is  plainly  visible.  Mary's  appearance 
is  slightly  changed  to  the  ethereal,  spiritual  pre- 
sentation of  the  Italian  school,  which  the  artist 
abandoned  again  for  the  Germanic  conception  of 
the  human  side  as  soon  as  he  returned  north.     It 


142     XCbe  Hrt  of  tbe  IDienna  (Ballerfes 

has  been  said  that  the  little  angel  playing  on  a  lute 
at  the  Virgin's  feet,  so  characteristic  of  the  sancte 
conversazioni  of  the  Venetians,  was  a  mark  of 
homage  offered  by  the  German  master  to  the  great 
Bellini. 

Diirer's  pupil,  Hans  Sues  von  Kulmbach,  could 
never  forego  the  influence  of  his  master,  as  may  be 
seen  in  the  "Coronation  of  Mary''  (No.  1438). 
Still  he  had  a  wealth  of  motif,  and  a  bright,  mild 
colour  scheme  that  was  quite  individual.  Diirer's 
characteristics  are  still  less  apparent  in  two  panels 
by  Kulmbach,  recently  added  to  the  Museum,  in 
one  of  which  Mary  is  seen  reading  a  large  folio; 
while  on  the  other  the  Angel  of  the  Annunciation 
IS  pictured.  These  panels  have  more  of  the  Italian 
method,  and  are  much  in  the  style  of  Jacopo  de' 
Barbari.  Bartel  Beham  and  the  talented  Hans 
Leonhard  Schauffelein  came  from  Diirer's  studio. 
By  Beham  we  have  a  portrait  of  King  Ferdinand  I; 
and  from  Schauffelein's  hand,  besides  two  bust  por- 
traits (Nos.  1435  and  1437),  a  fine  altarpiece  with 
three  pairs  of  wings  (No.  1438),  which  contains 
one  hundred  and  fifty-seven  different  scenes  from 
the  life  of  Christ. 

One  of  the  greatest  of  the  German  Renaissance 
painters  was  the  Augsburg  artist  Hans  Burckmair, 
who,  besides  much  that  is  of  little  moment,  has 
produced  many   works   of  power.      The   '*  Double 


HANS 
BURCKMAIR 


DOUBLE    PORTRAIT 
Plate  XIX 


Imperial 
Museum 


XCbe  JEatli?  German  painters         143 

Portrait''  (No.  1405)  of  the  master  and  his  wife 
(Plate  XIX)  shows  the  proficiency  in  the  art  of 
portrait  painting  by  men  not  directly  under  Diirer's 
influence.  The  doctrine  of  the  vanity  of  human  Hfe, 
then  so  rife  in  Germany,  is  to  be  recognised  by 
the  reflection  in  the  mirror  which  Burckmair's  wife 
holds  in  her  hand.  This  shows  two  human  skulls, 
with  the  legend  inscribed  at  the  top  of  the  picture 
in  a  scroll :  *'  Thus  we  appeared,  but  in  the  mirror 
only  that.'' 

Another  portrait  painter  of  independent  develop- 
ment but  moderate  attainment  v/as  Bernhard  Strigel, 
by  whom  we  have  two  portraits  of  the  Emperor 
Maximilian  I  (Nos.  1426  and  1429),  and  a  family 
group  of  the  Emperor  with  his  family  (No.  1425). 

The  far-reaching  influence  of  the  art  of  Durer 
through  his  etchings  and  woodcuts  is  shown  in  the. 
Austrian  painter  Albrecht  Altdorfer,  who,  however, 
followed  also  in  many  respects  the  great  light- 
painter  Matthias  Griinewald.  Vienna  does  not 
possess  any  examples  of  Griinewald's  brush,  but 
he  can  best  be  studied  in  the  Kolmar  Museum. 
Altdorfer's  little  Christmas  picture  (No.  1421)  is 
a  charming  composition,  full  of  interesting  details 
and  a  wonderful  play  of  light-effects.  It  is  also 
a  fairly  good  presentation  of  the  new  departure  in 
landscape  painting,  which  Altdorfer  originated  and 
which  came  to  be  called  the  Donau  style  —  an  in- 


144     Ube  art  of  tbe  IPieuna  Galleries 

genuous  combination  of  the  ideal  and  the  real  in 
nature,  with  an  effect  produced  that  might  be  called 
scenic.  His  '^  Holy  Family''  (No.  1422)  is  in  the 
manner  of  the  Italian  half-figures. 

In  Hans  Baldung  Grien  we  find  also  a  mixture 
of  Diirer's  and  Griinewald's  influence,  leaning  more 
towards  the  latter's  sharp  delineation  in  strong  light. 
An  allegorical  representation  of  ''Vanity''  (No. 
1423),  attacked  by  Death  and  defended  by  Slander, 
gives  us  a  first  view  of  the  painting  of  the  nude, 
to  which  the  German  artists  never  became  over- 
partial. 

Most  characteristic  of  the  Teutonic  love  of  story 
telling  is  the  work  of  Leonhard  Beck,  who  entered 
the  painters'  Guild  of  Augsburg  in  1503,  and  died 
in  that  city  in  1542.  There  is  a  crowding  of  incident 
and  detail  in  his  ''St.  George"  (No.  1431.  Plate 
XX)  which  is  not  found  in  any  other  school.  In 
this  finely  painted  picture,  in  which  the  figures  are 
repeated  to  tell  the  progress  of  the  story,  the  land- 
scape part  is  wonderfully  rich.  In  the  foreground 
St.  George  is  killing  the  dragon  before  the  eyes  of 
the  terrified  princess;  after  which  we  see  him  in 
the  middle-distance  peacefully  following  the  lady  to 
receive  the  reward  for  his  courage. 

The  fame  of  Lucas  Cranach,  the  Elder,  rests 
principally  on  the  naivete,  ofttimes  humourous,  of 
his  compositions,  which,  however,  lack  deep  feeling, 


LEON HARD 
BECK 


ST.    GEORGE 
Plate  XX 


Imperial 
Museum 


XTbe  JBatls  ©erman  painters         14s 

or  even  a  sense  of  beauty.  Among  the  dozen  paint- 
ings we  find  here  his  '*  Paradise  "  (No.  1462)  is 
the  most  characteristic.  In  six  scenes  the  story  of 
the  creation  and  fall  of  man  is  related,  but  with  a 
freshness  and  originality  of  style  that  makes  us 
forget  the  archaic  qualities.  *'  Adam  and  Eve  under 
the  Apple-tree"  (No.  1459)  possesses  much  of  the 
same  traits.  ''  Christ's  Farewell  from  Mary  and 
the  Women  on  his  Way  to  Golgotha"  (No.  1456) 
has  some  expression  of  deeper  feeling.  A  "  Deer- 
hunt "  (No.  1452)  is  a  queer  scene  in  which  the 
Elector  of  Saxony  plays  a  part  as  if  the  hunt  were 
orderly  arranged  upon  a  large  stage.  No.  1454  is 
a  droll  portrayal  of  an  enamoured  old  man  with  a 
girl.  The  fine  ''  Rest  on  the  Flight  to  Egypt,"  an 
early  work  which  is  now  in  the  Berlin  Museum,  is 
shown  here  in  an  excellent  contemporaneous  copy 
(No.  1463). 

His  son,  Lucas  Cranach,  the  Younger,  frequently 
aided  his  father  in  his  work.  Two  portraits,  half- 
figures,  of  a  Man  (No.  1469),  and  of  a  Woman 
(No.  1470),  and  ''Christ  taken  Prisoner"  (No. 
1467)  are  from  the  younger  man's  hands,  although 
the  catalogue  gives  the  last  named  picture  unduly 
to  the  father.  A  pupil  of  the  elder  Cranach, 
Wolfgang  Krodel,  has  a  ''  David  and  Bathsheba  " 
(No.  1471)  in  a  conventional  presentation  which 
is,  nevertheless,  interesting. 


146     Xlbe  Hrt  of  tbe  IDienna  ©allettes 

The  best  known  of  German  painters,  next  to 
Diirer,  is  Hans  Holbein  the  Younger,  the  complete 
contrast  to  Diirer.  Holbein  was  a  man  not  prone 
to  theorise,  not  steeped  in  speculation,  a  dreamer  of 
no  dreams.  Without  passion  he  looked  out  upon 
the  world  around  him,  accepting  nature  without 
preoccupation  or  afterthought,  but  with  a  keen 
sense  of  all  her  subtle  beauties,  loving  her  simply 
and  for  herself.  Not  so  Teutonic  in  every  way  as 
the  great  Nuremberg  master,  he  formed  a  link  be- 
tween the  Italian  and  German  races. 

Where  Durer  was  hindered  by  an  overpowering 
imagination,  Holbein  is  weakened  by  the  lack  of  it. 
Thus  his  biblical  scenes  are  tame  in  comparison 
with  those  of  his  predecessor.  His  coolness  of  mind 
aided  him,  however,  in  his  portrait  work,  for  which 
he  is  justly  famous.  There  he  displays  sharp  char- 
acterisation and  exquisite  painters'  quality. 

The  seven  works  shown  here  are  all  portraits 
of  his  later  years,  when  he  was  court-painter  of 
Henry  VHI,  of  England.  The  most  striking  of 
these  is  the  portrait  of  "  Jane  Seymour,  the  third 
Queen  of  Henry  VHI"  (No.  1481.  Plate  XXI). 
Here  is  a  beautiful  painting,  full  of  charming  detail 
in  execution.  She  appears  in  the  most  splendid  cos- 
tume, an  underdress  of  silver  brocade,  over  which 
she  wears  a  gown  of  deep  red  velvet.  Wherever 
it  is  possible  rich  gold  ornament  is  introduced,  her 


HANS 
HOLBEIN, 
THE    YOUNGER 


JANE    SEYMOUR 
Plate  XXI 


Imperial 
Museum 


XTbe  Earls  German  painters         147 

dress  and  cap,  of  the  well-known  angular  shape,  are 
studded  with  pearls,  and  round  her  neck  is  a  chain 
of  pearls,  from  which  is  suspended  a  rich  jewelled 
ornament.  The  whole  is  executed  in  miniaturelike 
perfection;  but  in  spite  of  its  splendour  and  glitter- 
ing profusion,  the  countenance  of  the  Queen  out- 
shines all  the  rest  with  its  wonderfully  delicate  and 
clear  tint. 

Of  stronger,  even  monumental  impress,  is  the 
portrait  of  "John  Chambers"  (No.  1486),  the 
court-physician.  The  "  Portrait  of  Dirck  Tybis  " 
(No.  1485),  a  German  merchant  residing  in  Lon- 
don, was  painted  in  1533;  while  the  half-figure  of 
a  man  (No.  1479)  came  in  1541.  A  comparison 
between  these  two  portraits,  but  eight  years  apart, 
shows  the  progress  Holbein  made  in  his  art,  even 
in  his  later  years. 

Among  the  remaining  pictures  in  this  gallery  we 
may  note  three  good  portraits  by  the  Austrian  court- 
painter  Jacob  Seisenegger,  who  on  the  whole  was 
but  a  slavish  imitator  of  Titian.  So  does  the  work 
of  Christoph  Amberger,  of  Hans  Muelich,  and  of 
the  later  Hans  Grimmer  show  how  early  the  decay 
of  German  art  set  in  through  the  loss  of  its  native 
originality,  caused  by  Italian  imitation. 

Thus  we  cannot  expect  to  find  much  of  interest 
in  Gallery  X,  where  hang  the  works  of  the 
later  men,  of  the  end  of  the  16th,  of  the  17th  and 


148     XTbe  Hrt  ot  tbe  IDienna  (Balleries 

of  the  18th  centuries.  It  is  a  deadly  medley  of 
mediocrity,  and  most  of  the  works  are  unworthy 
of  consideration.  Only  a  few  pictures  displayed 
here  shall  be  noted. 

A  number  of  allegorical  and  mythological  paint- 
ings—  a  round  dozen  (Nos.  1495-1506) — by  the 
Antwerp-born  Bartholomaeus  Spranger,  who  be- 
came Imperial  court-painter  at  Prague,  are  of  little 
interest.  One  of  these  (No.  1500)  has  the  peculi- 
arity of  being  painted  on  a  marble  slab,  whereby  the 
colour,  through  the  luminous  quality  of  the  stone 
underground,  becomes  quite  brilliant.  But  that  is 
a  purely  mechanical  accident,  and  "  Apollo  and  the 
Muses,"  which  the  subject  represents,  are  as  prosy 
and  tiresome  as  any  of  the  other  deities  captured 
within  the  other  frames.  Hans  von  Achen,  Josef 
Heinz,  Christoph  Schwarz,  and  a  number  of  others, 
of  as  little  value,  present  only  echoes  of  the  great 
Venetians,  of  Tintoretto,  Veronese  and  others. 
Johann  Rottenhammer,  as  Italianised  as  the  rest, 
still  allows  some  Teutonic  fantasy  to  play  through 
his  composition  in  "  The  Entrance  of  the  Doomed 
into  Hell"  (No.  1526),  and  in  "The  Last  Judg- 
ment" (No.  1527),  which,  of  course,  have  also  a 
Michelangelesque  reminiscence. 

The  defamer  of  Rembrandt,  Joachim  von  Sand- 
rart,  did  not  at  all  profit  by  the  instructions  he  re- 
ceived  in   the   studio   of   Honthorst,    Rembrandt's 


Ube  lEatls  German  pafntets        149 

pupil.  His  paintings  here  (Nos.  1536-1539)  be- 
speak a  man  of  no  original  mind,  as  they  are  but 
copies  of  Dutch  and  Flemish  works.  In  his  writ- 
ings on  art  and  artists,  however,  he  displayed 
amazing  originality,  and  a  power  of  imagination 
which  did  not  at  all  concern  itself  with   facts. 

Balthasar  Denner  imitated  the  technique  of  the 
old  German  painters,  as  seen  in  his  two  portraits 
of  elderly  people  (Nos.  1582  and  1583);  while 
Franz  Casanova,  perhaps,  excelled  the  Frenchman 
Bourguignon  whose  battlescenes  he  followed  and 
improved  upon. 

The  saving  grace  in  all  this  foreign  embroilment 
was  a  striving  for  classic  expression  found  in  Anton 
Raphael  Mengs,  who,  with  Angelica  Kaufmann, 
represents  at  its  best  in  Germany  the  academic  tend- 
ency which  was  beginning  to  rule  the  French  art 
world.  Their  contemporary  popularity  does  not, 
however,  find  a  present-day  response. 

The  third  division  of  Cabinet  XI  contains  a  few 
17th  century  German  works  which  are  mostly  echoes 
of  Dutch  art.  Of  interest  is  a  "  Rest  on  the  Flight 
to  Egypt"  (No.  1628),  by  Adam  Elsheimer,  of 
whom  frequent  mention  has  been  made.  This  is  an 
early  work  of  the  artist,  full  of  the  poetic  charm 
and  the  searching  for  light-effect  which  distin- 
guished his  art. 

Gallery   VIII    need    not    detain    us    long.     It 


ISO     XTbe  art  of  tbe  Dienna  ©allettes 

is  filled  with  the  works  of  the  men  of  the  18th 
century  —  all  imitators.  Whether  the  paintings 
are  signed  Brand,  Roos,  Hartmann  or  Fischer,  it 
is  easy  to  put  alongside  their  names  those  of 
Breughel,  Tiepolo,  van  Bloemen,  or  other  Italian  or 
Dutch  artists  whom  they  followed.  With  a  shorter 
history  of  eminent  attainment,  the  decay  of  German 
art  set  in  earlier  and  its  inefficiency  was  more  com- 
plete and  lasted  longer  than  in  any  other  country. 


CHAPTER   VI 

THE    NINETEENTH    CENTURY    PAINTINGS 

German  art  of  the  18th  century  began  with  a 
reflection  of  the  French  Academic  art  which  reigned 
then  supreme  throughout  Europe.  In  fact,  classi- 
cism held  longer  sway  in  Germany  than  anywhere 
else.  Although  in  the  twenties  Romanticism  con- 
quered the  Academics  in  France,  we  must  concede 
that  the  Nazarenes,  so-called,  at  whose  head  stood 
Peter  Cornelius,  followed  less  the  doctrine  of  colour 
than  of  line  even  as  late  as  the  forties. 

The  year  1848,  with  its  political  agitations  in 
Europe,  brought  in  Germany  at  least  a  revolution 
in  art.  A  reactionary  movement,  both  against 
classicism  and  romanticism,  culminated  in  the  su- 
preme rule  of  a  healthy  realism;  a  realism  which 
changed  its  subjects  from  saints  and  classic  gods  to 
scenes  from  national  life.  It  was  a  Germanic  na- 
tionalism —  satisfied  with  its  own  history  and  its 
own  daily  life.  For  years  this  national  art  found- 
worthy  interpreters,  led  in  Berlin  by  Menzel,  in 
Vienna  by  Fiirich  and  Waldmuller,  in  Munich  by  • 

151 


1S2     XCbe  Hrt  of  tbe  iDienna  ©allertes 

Piloty,  Ramberg,  Enhuber  and  the  Frankforter  von 
Schwind,  in  Dresden  by  Ludwig  Richter.  Dussel- 
dorf,  hopeless  under  Schadow's  guidance,  revived 
under  Ludwig  Knaus,  his  follower  Vautier,  and 
Alfred  Rethel.  By  the  end  of  the  century  a  new 
school  had  arisen  —  of  which  the  last  word  has  not 
yet  been  written  —  which,  stirred  by  the  Secession 
movement,  has  brought  a  revelation  of  beauty  in 
art  to  those  who  have  followed  its  creations. 
Lenbach,  Feuerbach,  Leibl,  von  Marees,  Bocklin, 
Thoma,  Klinger,  and  many  more,  although  their 
work  is  still  comparatively  little  known  beyond  the 
German  border,  will  fill  an  important  page  in  the 
world's  history  of  art. 

We  shall  not  be  able  to  follow  this  well-defined 
stream  of  Germanic  art  development  in  the  Vienna 
Museum.  For  this  we  should  study  the  paintings  of 
the  National  Gallery  of  Berlin. 

The  "  Modern  Masters,"  under  which  name  are 
classified  the  paintings  that  are  found  in  Galleries 
V-VII  and  Cabinets  VII-X,  refer  to  a  collection 
of  about  four  hundred  paintings  which  represent 
principally  artists  who  were  more  or  less  identified 
with  Vienna.  A  very  few  foreigners,  as  Jacques 
Louis  David,  Constant  Troyon,  and  Alexander 
Calame,  and  a  few  painters  whose  wider  fame 
belongs  to  German  art,  are  represented. 

At  the  beginning  of  the  19th  century  academic  ( 


Ube  IRineteentb  Centura  paintings   153 

classicism  reigned  also  in  Vienna,  and  its  gradual 
suppression  by  the  romantic  and  realistic  move- 
ments may  here  be  witnessed.  Gallery  VII 
gives  a  view  of  this  transition.  The  most  notable 
of  the  academic  painters  was  Heinrich  Fiiger,  who 
was  called  by  his  admirers  the  German  Raphael. 
Each  one  of  his  examples  (Nos.  1-6,  for  a  new 
numbering  covers  the  Modern  Masters)  bears  the 
stamp  of  the  technique  which  was  then  followed, 
although  a  reflection  of  earlier  painters  may  not  be 
denied.  Thus  "  Hector's  Farewell  to  Andromache  '' 
(No.  2)  possesses  Correggiesque  features,  while  his 
"  St.  Magdalene  ''  (No.  4)  is  reminiscent  of  van  der 
Werff's  Dresden  Magdalene.  Decidedly  his  best 
work  is  a  recently  added,  and  not  yet  catalogued, 
"  Portrait  of  his  Wife,"  which  was  painted  con 
amore,  but  even  in  this  we  are  reminded  of  Mme. 
Vigee  Lebrun's  method. 

Josef  Abel  painted  a  large  symbolic  picture,  in 
which  the  poet  Klopstock  is  led  into  Elysium  and 
received  by  Homer  and  other  great  poets  (No.  13). 
Johann  Hoeckle,  the  Younger,  pictures  an  historic 
scene  in  which  the  Emperor  Franz  I,  with  his 
generals,  crosses  the  Vosges,  in  France,  in  the 
memorable  year  1815  (No.  29).  This  canvas  has 
merit  of  composing,  and  is  less  hampered  by 
academic  stiffness.  Franz  Eybl,  a  Viennese  painter, 
is  excellent  in  a  self-portrait   (No.  54),  with  fine 


IS4     Ube  Hrt  ot  tbe  Vienna  ©alleries 

chiaroscuro.  His  picture  of  an  old  woman,  holding 
her  rosary,  as  she  comes  from  church  (No.  55),  is 
tenderly  realistic  and  modern  in  feeling.  Johann 
Peter  Krafft  is  strongly  academic,  notably  so  in  his 
"Arindal  and  Daura  "  (No.  60a).  In  the  '*  De- 
parture "  (No.  58)  and  the  "Return"  (No.  59) 
of  an  Austrian  militiaman  he  verges  on  the  senti- 
mental. Friedrich  von  Amerling  was  an  excellent 
portrait  painter,  as  several  examples  (Nos.  84- 
88a-d)  bear  witness.  The  portrait  of  the  landscape 
artist  Raffalt,  as  Falstaff,  is  a  particularly  fine 
performance. 

Aside  from  the  many  genre  paintings,  which  are 
of  a  comfortable  mediocrity  and  generally  devoid 
of  deep  interest,  we  must  accord  due  credit  to  the 
landscapes,  among  which  we  note  the  "  Waterfall  of 
Tivoli,  near  Rome''  (No.  30),  by  Jacob  Philipp 
Hackert,  a  painter  who  was  greatly  admired  by 
Goethe.  This  admiration  was  bestowed  by  Goethe, 
the  naturalist;  for  as  poet  or  art  connoisseur  he 
cannot  have  found  much  to  admire  in  Hackert's 
work,  which  lacks  imagination  and  fails  in  technical 
excellences.  Further  we  view  "  The  Deserted  Mill  " 
(No.  70),  by  Franz  Stein f eld,  a  picture  of  lone- 
someness  and  desolation,  and  two  landscapes  (Nos. 
91  and  92),  by  Ignaz  Raffalt. 

In  Cabinet  X  we  find  the  example  of  David, 
"Napoleon  crossing  the  St.   Bernhard  "    (No.  9), 


Ube  IWineteentb  Century  paintings   155 

an  important  canvas  by  this  French  painter.  Four 
landscapes  by  Josef  Rebell  are  worthy  of  notice 
here,  notwithstanding  their  grandiose  effect. 

Gallery  VI  contains  the  work  of  the  Vien- 
nese painters  who  were  influenced  by  the  Nazarenes, 
prominent  among  whom  was  Josef  Ritter  von 
Fiirich,  with  his  sacred  scenes  from  Palestine  (Nos. 
154-157).  Fiirich  was  possibly  more  attractive  in 
his  biblical  presentations  than  any  of  the  Nazarenes 
who  worked  in  Rome.  There  is  more  childlike 
simplicity,  a  more  naive  faith  in  his  composition, 
that  plainly  speak  of  the  pious,  devout  life  of  the 
artist. 

George  Ferdinand  Waldmiiller  chose  sentimental 
subjects  of  common  life,  to  which  romantic  colour 
lends  more  or  less  vivacity.  A  "  Christmas  Festival 
in  a  Farmhouse''  (No.  153),  with  its  many  bright 
children's  heads,  is  pleasing.  Of  greater  interest  is 
his  self-portrait  (No.  148),  which  is  of  more  artistic 
quality.  Josef  Danhauser  also  displays  that  anec- 
dotal trait  which  has  always  manifested  itself 
throughout  German  art,  and  for  which  the  Dussel- 
dorf  and  Munich  schools  carry  the  opprobrium  now 
visited  upon  them.  In  passing  we  must  reflect  that 
this  reproach  should  not  be  made  too  severe  when 
we  consider  that  the  telling  of  a  story  is  a  national 
characteristic,  inbred  and  irradicable  —  though  it 
does  often  become  a  bore.     Danhauser's  pictures 


is6     XEbe  art  of  tbe  Vienna  ©alleries 

display  a  keen  sense  of  observation,  often  with  a 
humourous  touch. 

Eduard  Ritter  von  Steinle  shows  Italian  training 
in  his  "Holy  Family"  (No.  186a),  which  was  un- 
mistakably painted  in  the  vein  of  Carlo  Dolci;  while 
Karl  Marko  in  his  "  Italian  Landscape  with  Ruins  " 
(No.  192)  and  in  "Christ  silencing  the  Storm" 
(No,  193)  has  the  same  Southern  traits.  The  large 
canvas  by  Eduard  Ritter  von  Engerth,  "  Capture 
of  the  Son  of  Manfred  by  the  Soldiers  of  Charles 
of  Anjou"  (No.  172),  with  its  scenes  of  horror; 
the  one  by  Karl  Rahl,  "  Reception  of  Manfred  in 
Luceria,  in  1254"  (No.  194);  and  the  "Reichs- 
tag at  Warschau  in  1773"  (No.  176),  are  large 
historical  canvases  of  little  artistic  merit. 

Still  more  works  are  found  in  Cabinet  IX, 
which  are  of  greater  interest  for  the  study  of  history 
than  of  art.  They  consist  of  forty- four  sketches  for 
the  fresco  paintings  in  the  Imperial  Arsenal,  repre- 
senting the  history  of  the  Habsburgs.  They  are 
painted  by  Karl  Ritter  von  Blaas.  Only  one  small 
picture  is  worthy  of  special  attention  here.  This 
is  a  picture  by  Moriz  Ritter  von  Schwind,  one  of 
the  greatest  of  the  German  artists  of  the  middle  of 
the  century.  It  represents  "  Emperor  Max  on  the 
Martinswand"  (No.  364).  On  the  right,  at  the 
extreme  edge  of  a  steep  cliff  kneels  the  Emperor, 
with  hands  folded  as  he  receives  the  benediction 


Zbc  •Kineteentb  Centura  ipafntfngs  157 

from  a  priest  who  stands  in  the  valley  below  and 
elevates  the  Host.  A  multitude  witnesses  the  solemn 
ceremony.  It  is  well  painted,  finely  drawn,  and  the 
colour  is  of  a  fine  fluency  through  the  magic  mist 
of  atmosphere. 

Schwind  was  the  healthiest,  most  warm-hearted 
of  the  idealists,  who  sought  a  substantial  substratum 
of  real  life  in  his  poetic  imagery.  His  influence  was 
all  for  good;  but  speedily  overcome  and  diluted  by 
that  strong  current  of  anecdotal  painting  that  swept 
from  Dusseldorf  over  all  Germany,  Uhland,  Morike, 
Auerbach,  the  great  romancers,  became  the  idols 
and  inspirers  of  the  graphic  arts.  And  only  Munich, 
although  carried  away  by  the  popular  clamour,  ele- 
vated the  spirit  of  painting  slightly  by  making  its 
anecdotes  historical. 

In  Cabinet  VIII  we  find  Alexander  Calame's 
painting.  It  is  a  scene  at  the  lake  of  Geneva,  in 
the  usual  style  of  this  Swiss  artist.  The  "  Entry 
of  Duke  Leopold  in  Vienna  after  his  Crusade  of 
1219"  (No.  277)  is  a  slickly  painted,  historical 
scene  by  Josef  Ritter  von  Trenkwald.  His  "  Study- 
head  of  a  Roman  Lady"  (No.  277a)  is  painted 
with  greater  freedom.  The  "  Fight  of  Tritons  " 
(No.  280),  by  Benes  Kniipfer,  a  Bohemian  artist, 
is  a  fine  performance.  We  find  here  further  a  full- 
length,  life-sized  figure,  a  lady  dressed  in  white  and 
yellow,   playing  a  lute,   in  an   evening  landscape- 


is8     Ube  Hrt  of  tbe  IDfenna  Galleries 

setting  (No.  286).  This  is  a  most  characteristic 
example  from  the  Munich  artist  Fritz  August  von 
Kaulbach,  who  succeeded  Piloty  as  the  Munich  art 
director  when  only  thirty-seven  years  of  age. 

Dr.  GurHtt,  the  old  professor  of  art  history  in 
Dresden,  makes  a  characteristic  criticism  of  Kaul- 
bach's  art,  which  describes  its  spirit  to  perfection. 
Says  he,  "  I  should  not  like  to  have  him  paint  a 
woman  I  respect.  His  female  portraits  look  at  one 
with  too  brilliant  eyes,  as  if  to  say:  Well,  how  do 
I  please  you!  They  are  all  so  savoury;  we  would 
be  tempted  to  pinch  their  cheeks.  They  have  such 
round  busts  and  sprightly  limbs  that  one's  mouth 
waters.  Kaulbach  is  an  excellent  tailor  who  knows 
how  to  lay  around  their  slender  and  yet  full  bodies 
so  many  decorating  folds  that  all  charms  are  inten- 
sified. One  does  not  see  anything  that  would  shock 
propriety,  but  one  sees  everything  which  decorum 
does  not  forbid.  A  bare  arm  is  most  charmingly 
naked."  Approval  of  this  criticism  is,  of  course, 
optional.  It  remains  to  be  said,  however,  that 
Kaulbach  has  always  been  one  of  the  most  popular 
portrait  painters  in  Germany. 

Cabinet  VII  contains  a  collection  of  pictures 
by  North  Italian,  especially  Lombard  painters,  of 
the  first  half  of  the  19th  century  which  are  scarcely 
interesting.  The  only  important  piece,  which  some- 
how is  also  hung  in  this  Cabinet,  is  an  early  work 


Ubc  mfneteentb  Centuri?  pafntinQS   159 

of  the  Prague  artist,  Gabriel  Max,  entitled  a 
"Spring-tale"  (No.  357).  A  young  girl,  dressed 
in  white  and  violet,  is  seated  on  a  grassy  slope, 
musing  over  the  story  she  has  been  reading.  A 
black  cloak  has  fallen  from  her  shoulders  to  the 
ground.  The  painting  shows  a  promise  of  talent 
which  later  has  been  amply  fulfilled. 

Neither  the  many  little  heads  of  girls,  for  which 
Gabriel  Max  is  best  known,  nor  his  famous  *'  Lion's 
Bride,"  give  a  correct  impression  of  this  artist's 
calibre.  He  has  painted  many  religious  subjects, 
which  are  especially  impregnated  with  a  certain 
flavour  of  psychological  searching,  as  if  the  artist 
is  interested  in,  if  not  a  devotee  of  the  hypnotic 
cult.  His  Christs  pose  much  like  magnetic  healers, 
and  the  eyes  of  his  Madonnas  have  a  far-off, 
somnambulistic  look  that  would  be  readily  diagnosed 
as  a  symptom  of  hysteria. 

Far  different  are  the  Biblical  scenes  by  Fritz  von 
Uhde,  by  whom  we  see  a  small  canvas,  ''  Christ  the 
Comforter"  (No.  358),  which  hangs  in  the  next 
Gallery.  His  intense  realism  is  bathed  in  a  mystic 
glow. 

There  is  much  more  of  interest  to  be  seen  in 
this  Gallery  V.  Prominent  is  the  immense 
canvas,  entitled  "Never  Back"  (No.  290),  a  stir- 
ring scene  from  the  first  Austrian  Polar  Expedition 
of   1872-1874,   and  painted  by  Julius   Ritter   von 


i6o     xrbe  Hrt  of  tbe  Dtenna  Galleries 

Payer,  the  naval  officer  who  commanded  the  ex- 
pedition. 

Franz  von  Defregger,  one  of  the  few  German 
artists  who  is  well  known  outside  his  own  country, 
principally  through  the  reproductions  of  his  works, 
has  two  of  his  familiar  Tyrolean  scenes  (Nos.  293 
and  294). 

Defregger,  now  the  acknowledged  leader  of  the 
Munich  peasant-art,  has  himself  been  a  Tyrolean 
farmer,  and  did  not  know  city  life  until,  at  the  age 
of  twenty-six,  he  entered  Piloty's  studio.  Since  he 
has  devoted  himself  to  depict  the  life  of  the  hardy 
mountaineers  among  whom  he  himself  has  his 
home,  he  has  become  the  most  popular  of  German 
peasant-painters.  This  is  quite  plausible  because 
the  picturesque  costumes  of  the  Tyrol  have  not  for 
city  people  the  grotesque  appearance  of  those  of 
other  districts.  It  reminds  them  of  what  they  them- 
selves in  sport  and  mountain  travel  find  most  con- 
venient. Added  to  this  is  the  tale  of  the  chronicler 
which  Defregger  knows  so  well  how  to  tell  —  so 
beloved  by  the  Germans  —  while  the  pleasing  colour 
scheme,  not  indeed  as  masterful  as  that  of  Ludwig 
Knaus,  is  nevertheless  harmonious  and  attractive. 

Jakob  Emil  Schindler,  a  Viennese,  trained  at  the 
local  Academy,  shows  great  talent  in  two  Dalmatian 
landscapes  (Nos.  296  and  297).  This  artist  was  too 
modern  for  his  time,  and  could  scarcely  subsist  by 


XTbe  IRineteentb  CentutB  paintinQS  i6i 

his  brush  work.  He  came  too  soon  after  Vienna 
had  been  surfeited  with  monumental  art  to  have 
his  pure,  plein  air  landscapes  appreciated. 

Albert  Zimmermann,  a  Dresden  artist,  who  from 
1860  to  1871  was  professor  at  the  Vienna  Academy, 
is  impressive  in  a  '^  Thunderstorm  in  the  Moun- 
tains"  (No.  310)  — it  is  honestly  seen,  and  given 
with  dramatic  accent. 

Entirely  modern  is  the  powerful  portrait  of 
Counsellor  Rubenstein  (No.  356),  by  Franz  von 
Lenbach,  the  most  popular  of  German  portrait 
painters.  Lenbach  as  a  portrait  painter  varies 
greatly.  His  portraits  of  young  women  and  chil- 
dren grew  in  his  later  years  more  and  more  alike 
—  always  the  same  almond  eyes,  the  same  half- 
dreamy  expression,  the  same  weak  features.  It 
was  as  if  he  presented  always  the  same  type  of 
face.  But  in  his  male  portraits,  and  even  those 
of  elderly  women,  he  was  dififerent.  There  he 
grips  one  with  a  personal  and  individual  conception. 
He  does  not  alone  draw  out  the  best  of  character 
that  is  in  his  sitters,  but  he  infuses  the  document 
he  delivers  with  something  of  his  own  verve  and 
vitality.  It  may  be  said  that  if  in  one  class  of 
his  pictures  he  is  as  weak  as  .van  Dyck,  in  the 
other  he  is  as  strong  as  Frans  Hals.  No  one  who 
remembers  his  matchless  portraits  of  Bismarck  or 
of  Moltke,  or  sees  this  one  of  Counsellor  Rubin- 


i62     Zbc  art  ot  tbe  IDienna  ©allertes 

stein,  but  will  respond  to  the  fresh  virility  where- 
with he  signed  every  brushstroke  as  with  his  own 
vivid  personality. 

The  Constant  Troyon  hangs  on  the  same  wall, 
and  is  one  of  his  attractive  barn-yard  scenes  with 
poultry   (No.  306). 

On  the  sidewall  hangs  the  immense  canvas  by 
Wenzel  von  Brozik,  entitled  ''  Tu  felix  Austria 
nube  "  (No.  341),  the  historical  representation  of 
the  double  betrothal  of  the  two  relatives  of  Em- 
peror Maximilian  I  —  of  Maria  of  Austria  with 
Ludwig  of  Hungary,  and  of  the  Archduke  Ferdi- 
nand with  Ludwig's  sister,  Anna  of  Hungary.  The 
ceremony  took  place  in  the  old  St.  Stephan  Church 
of  Vienna  on  the  22nd  of  July,  1515.  The  style 
of  Brozik's  large  historical  canvases  is  so  well 
known  that  this  formal  presentation  of  historic  art 
needs  no  description.  Gorgeous  court-costumes  and 
a  bewildering  mass  of  important  looking  person- 
ages, painted  in  striking  colours  —  and  we  have 
the  pat  description  that  would  serve  for  every  one 
of  such  creations. 

The  most  famous  and  best  beloved  of  all  Viennese 
artists  was  Hans  Makart,  a  man  of  magnificent 
decorative  talent,  and  a  powerful  draughtsman, 
with  a  rich,  colourful  palette.  But  in  all  the  prodi- 
gal pomp  of  his  processions,  in  which  female  nudity 
always  plays  an  often  incongruous  part,  or  in  the 


Ube  IWineteentb  Century  paintings  163 

mythological  scenes  in  which  the  painting  of  mor- 
bidezza  has  a  fitter  setting,  we  cannot  discover  in 
this  artist's  work  the  opulence  of  the  talent  of  a 
Rubens,  nor  the  grandeur  of  a  Titian. 

Makart's  '^Triumph  of  Ariadne"  (No.  322)  is 
an  immense  canvas  filled  with  a  tumbling  mass  of 
beautiful  figures.  A  scene  from  "  Romeo  and 
Juliet''  (No.  320) — the  closing  one  of  the  IV 
act,  in  which  Juliet  lies  on  a  couch,  believed  to 
be  dead,  and  her  parents  burst  forth  in  lamenta- 
tion as  Count  Paris  comes  to  conduct  her  to  the 
wedding  —  has  an  appropriate  theatrical  effect.  A 
magnificent  decorative  '*  Bouquet  of  Flowers " 
(No.  321)  is  the  third  example  we  find  here  of 
Makart's  brush. 

A  peculiarity  of  the  way  this  artist  used  to  work 
is  little  known.  Whereas  painters,  especially  lit- 
erary or  anecdotal  painters,  generally  have  an 
object  in  view,  and  have  an  idea  of  the  subject 
they  wish  to  present  or  the  story  they  want  to 
tell,  Makart  rarely  knew  what  he  wanted  to  paint, 
but  he  allowed  his  fancy  to  run  free  and  cover 
his  canvas  with  figures  and  colours  with  a  won- 
derful eye  for  harmony.  As  the  old  saying  has 
it,  it  might  turn  out  a  song  or  a  sermon  —  only 
we  may  be  sure  that  his  homilies  were  not  oppres- 
sive. Often  his  friends  would  tell  him,  when  the 
painting  was  well  advanced,  what  the  composition 


i64     XTbe  Hrt  ot  tbe  IDienna  Galleries 

seemed  to  indicate,  and  the  artist  generally  would 
carry  out  the  suggestion  by  additional  figures  or 
some  slight  changes  in  what  had  already  been  ac- 
complished. Makart's  artistic  bent  was  by  no  means 
literary,  despite  the  literary  character  of  most  of 
his  work.  He  was  rather  an  improvisator,  but 
with  remarkable  skill  in  technical  executionr 

The  upper  story  of  the  Imperial  Museum  con- 
tains —  in  twelve  Cabinets  which  run  the  entire 
length  of  the  front  of  the  building  —  a  collection 
of  drawings  and  watercolours,  almost  exclusively 
by  Viennese  artists  of  the  19th  century.  Since  we 
may  not  expect  greater  enthusiasm  by  viewing 
these  works  than  was  occasioned  by  the  contem- 
plation of  the  oil-paintings  of  that  period,  below 
stairs,  it  must  suffice  merely  to  call  attention  to 
this  display,  which  contains  over  six  hundred 
numbers. 

The  rooms  in  the  rear  of  this  second  story  are 
utilised  as  copying  galleries,  and  contain  also  a 
number  of  paintings  of  minor  importance  and  gen- 
erally of  unknown  attribution. 


CHAPTER   VII 

THE    GALLERY    OF    THE    IMPERIAL    ACADEMY    OF 
FINE    ARTS 

There  is  not  a  collection  of  paintings  in  the 
world  of  equal  importance  which  is  as  badly  dis- 
played as  the  collection  of  the  Imperial  Academy 
of  Fine  Arts  in  Vienna.  Here  are  one  thousand 
two  hundred  and  fifty  paintings,  among  which 
are  found  some  of  the  choicest  works  of  the 
most  famous  artists,  crowded  together  in  a  few 
rooms  on  the  second  floor  of  the  north-west 
wing  of  the  magnificent  building  on  the  Schiller 
Platz. 

The  sketch  of  the  floor-plan  will  give  some  idea 
of  the  manner  of  this  display.  The  large  Gallery 
V  is  about  one  hundred  feet  long  by  twenty  wide, 
lit  on  one  side  by  nine  windows.  A  row  of  six- 
teen screens  reaching  from  floor  to  ceiling  forms 
seventeen  alcoves  and  leaves  one  long  wall.  The 
alcoves  with  the  uneven  numbers  are  favoured 
with  a  window  and  are  well  lit,  but  one  is  not 

I6S 


i66 


irmperial  Hca&emi?  of  jFine  arts      167 

able  to  view  the  paintings  there  at  the  proper  dis- 
tance. In  the  even-numbered  divisions  the  win- 
dows have  been  boarded  up,  so  that  they  are 
nothing  but  dark  cupboards;  still  every  inch  of 
wall-space  is  covered,  fortunately,  however,  with 
unimportant  works.  In  all  the  rooms  the  paintings 
are  hung  from  floor  to  ceiling,  with  the  frames 
touching  each  other,  so  that  not  an  inch  of  space 
may  be  lost.  In  Rooms  I-IV  and  VI  many  fine 
pictures  are  put  in  dark  corners.  Only  in  the  nar- 
row corridor,  also  divided  by  screens,  which  runs 
along  Room  V,  can  we  enjoy  the  fine  paintings 
displayed  there. 

I  have  already  described  in  Chapter  I  the  origin 
and  general  characteristics  of  this  collection.  We 
will  now  turn  to  view  those  paintings  which  stand 
out  prominently  in  this  chaotic  display.  The  ab- 
sence of  a  catalogue  —  which  for  a  number  of 
years  has  been  out  of  print  —  need  not  trouble  us, 
since  the  paintings  are  readily  identified,  for  they 
are  numbered  and  supplied  with  tablets  giving  title 
and  artist's  name.  The  numbering  is  arbitrary  on 
the  walls,  as  it  indicates  the  order  in  which  the 
paintings  were  added  to  the  collection,  and  the 
hanging  is  also  somewhat  confusing;  but  I  will 
endeavour  to  aid  as  far  as  possible  in  finding  the 
pictures  mentioned,  and  discuss  them  in  a  more 
orderly  manner  than  they  are  presented. 


i68     trbe  Hrt  ot  tbe  IDienna  ©alleties 

We  will  first  view 

THE    ITALIAN    PAINTINGS 

The  Venetians  are  here,  as  in  the  Imperial  Mu- 
seum, in  largest  numbers.  A  few  important  pic- 
tures of  the  other  Italian  schools  are,  however, 
likewise  to  be  seen. 

Although  Dr.  Suida  grows  enthusiastic  over  a 
tondo  in  Room  I,  ''  Madonna  with  Child  and  two 
Angels''  (No.  1133),  declaring  this  to  be  an 
authentic  work  by  Sandro  Botticelli,  I  do  not  find 
in  this  interesting  painting  anything  more  than  that 
it  came  from  his  studio.  While  it  bears  Sandro's 
design,  it  lacks  the  sensuous  charm  of  his  ara- 
besque curves,  and  the  grace  and  movement  of  his 
lovely  lines.  Nor  is  the  colour  as  bright  and  har- 
monious as  we  should  find  it  in  the  work  of  this 
greatest  pre-Raphaelite.  The  composition,  indeed, 
is  pleasing,  naive  and  poetic,  as  may  be  expected 
in  Botticelli's  smaller  designs.  The  Child  has 
rushed  to  its  mother  with  the  flowers  the  Angels 
have  given  it,  but  the  mother  draws  him  to  her 
with  anxious  forebodings,  and  the  little  one  looks 
questioningly  in  her  face,  surprised  that  its  joy 
is  not  shared.  The  angels,  also,  have  lost  their 
gaiety  and  witness  Mary's  sadness  with  sympathy. 

Another  tondo,  the  "  Madonna  del  Candelabro  " 
(No.  1134,  near  the  middle  window)  has  by  many 


Ifmperial  Hcaftemi?  ot  fine  arts     169 

been  considered  an  early  work  of  Michelangelo, 
although  Dr.  Frimmel  suspects  it  to  be  Marcello 
Venusti,  after  comparing  it  with  a  signed  painting 
of  this  artist  in  the  Leipzig  Museum.  Venusti  was 
noted  for  copying  Michelangelo's  larger  paintings 
to  a  reduced  size,  in  which,  as  a  skilful  draughts- 
man, he  was  very  successful.  Leaving  the  author- 
ship aside  we  may  regard  this  as  a  rich  Florentine 
painting  of  the  16th  century,  of  delicate  and  neat 
execution.  The  Madonna  sits  on  a  throne  and 
holds  the  Child  on  her  knee,  while  the  young  John 
sits  on  a  low  stool  by  her  side.  The  figures  have 
a  peculiar  attenuated  appearance  with  large  heads. 
A  richly  sculptured  candelabra  stands  on  the  tessel- 
ated  floor  near  the  Madonna's  chair. 

A  good  example  of  the  Sienese  school  of  the 
14th  century  is  an  apocalyptic  scene  (No.  48,  near 
the  first  window),  by  Bartolo  di  Fredi,  in  which 
the  Elders  adore  the  Lamb.  It  is  strong  in  facial 
character,  but  detail  is  somewhat  carried  to  excess. 
'  The  Umbrians  were  the  spiritual  heirs  of  the 
Sienese  in  the  following  century.  A  few  pictures 
represent  them.  There  is  a  miniature  of  the  Ma- 
donna with  Saints  and  Donors  (No.  1095,  near 
the  first  window),  which  may  well  be  from  the 
brush  of  Bernardino  Pintoricchio.  This  artist,  one 
of  the  principal  Umbrian  painters,  has  until  re- 
cently been  quite  overlooked.     Although  the  gor- 


lyo     xrbe  Hrt  of  tbe  IDfenna  Galleries 

geous  splendour  of  his  fresco  painting  in  the 
Cathedral  Library  of  Siena  indicates  the  decadent 
tendency  of  his  later  work,  still  the  miniature  be- 
fore us  shows  the  greater  sincerity  of  his  earlier 
art. 

An  exceedingly  rare  work  is  a  ^'  Presentation  in 
the  Temple''  (No.  493),  by  Galeazzo  Campi.  The 
architectonic  composition  in  which  the  three  princi- 
pal figures  are  placed  around  a  sexagonal  altar 
under  an  arch  is  characteristic  of  the  Cremonese. 
A  '*  Sancta  Conversazione  Mariae "  (No.  495), 
with  God,  the  Father,  and  St.  Hieronymus  in  the 
clouds,  is  by  Lodovico  Mazzolino,  of  Ferrara.  It 
is  richly  coloured,  but  somewhat  gaudy,  nor  does 
its  minute  finishing  add  to  the  merit  of  such  large 
paintings. 

Turning  to  the  numerous  Venetian  paintings  we 
note  one  of  the  earliest  examples  of  the  14th  cen- 
tury, still  showing  the  influence  of  the  great  Flor- 
entine Giotto  and  his  Byzantine  traditions.  This 
is  by  Lorenzo  Veneziano.  The  "Madonna"  (No. 
51),  holding  the  Child,  sits  on  a  throne  which  is 
richly  carved  and  inlaid  with  ivory  figures  of  saints. 
Small  angels,  playing  on  musical  instruments,  sur- 
round her,  four  of  these  seated  on  the  ornate 
throne-steps.  The  rich  colour  is  enhanced  by  the 
gold  background  and  aureolas.  The  original  carved 
frame  surrounding  this  picture  is  worthy  of  note. 


IFmpetial  Hcabems  of  ifine  Htts      171 

A  small  altarpiece,  in  tempera,  showing  thirteen 
Passion  scenes  (No.  22,  on  the  left  wall),  dates 
from  the  15th  century.  Comparison  with  a  paint- 
ing in  the  Academia  in  Venice  declares  it  to  be 
related  to  Michele  di  Matteo  Lambertini,  an  artist 
of  whom  little  is  known  except  that  he  worked  in 
the  middle  of  the  Quattrocento,  A  new  colour- 
element  becomes  apparent  in  this  work  of  the  tran- 
sition period,  and  a  seeking  for  light-effect,  notably 
in  the  light  horizons  of  the  scenes  presenting  the 
Descent  from  the  Cross,  and  the  Ascension.  The 
gradually  developing  sense  for  landscape,  still  crude 
and  unrealistic,  is  felt  in  the  scene  of  Christ  on 
the  Mount  of  OHves. 

Alvise  Vivarini  came  a  little  later,  when  the 
Bellinis  had  made  the  Venetian  school  prominent. 
A  full-length  figure  of  a  nun  (No.  24,  left  wall), 
whose  martyrdom  is  indicated  by  the  palm  branch 
which  she  holds  in  her  right  hand,  is  apparently 
the  pendant  of  the  St.  Clare  of  the  Venice  Acad- 
emy. The  long  robe  shows  dexterity  in  painting 
the  folds,  but  the  hands  are  poorly  done.  Many 
of  Alvise's  best  paintings  go  by  the  name  of  An- 
tonello  da  Messina  or  of  Giovanni  Bellini. 

A  little  picture,  showing  "  Christ  on  the  Mount 
of  Olives"  (No.  76,  centre  window),  is  by  his 
contemporary  Carlo  Crivelli.  This  artist  was  a 
reactionary,    harking   back    to    the    pre-Giottesque 


172     TLbc  Htt  Of  tbe  IDfenna  ©allerfes 

period  of  Cimabue.  Crivelli  was  consciously  and 
wilfully  archaic,  both  in  drawing  and  technique. 
When  all  painters  were  trying  oil,  he  clung  with 
desperate  fondness  to  tempera,  and  enriched  his 
surfaces  with  gold  and  jewels,  as  had  been  the 
byzantine  practice.  In  his  drawing  he  reverted  to 
a  rigid  position  of  his  Madonnas,  with  faces  pale 
and  corpselike,  their  emaciated  arms  bare  to  the 
elbows,  and  small  and  withered  hands  stretching 
out  from  their  sleeves.  His  figures  are  ill-favoured 
beings,  lean  and  ugly,  in  which  melancholy  repose 
is  less  habitual  than  grimace;  yet  he  surprises  us 
by  the  life  he  concentrates  into  their  action  and 
expression. 

There  is  no  artist  of  more  striking  individuality 
than  Crivelli;  no  one  who  had  more  complete  mas- 
tery over  his  means  of  expression,  or  attained  more 
nearly  to  his  ideal.  A  refined  fanaticism  charac- 
terises his  work  generally,  but  it  is  always  not  only 
refined  but  coherent.  Gradually  he  showed  a 
marked  tendency  to  indulge  in  splendour  and  elab- 
oration, and  his  pictures  in  this  sense  become  more 
and  more  purely  decorative.  Then  every  square 
inch  of  his  panel  attests  the  inexhaustible  richness 
of  his  invention  and  the  gorgeous  brilliancy  of  his 
enamellike  surfaces. 

But  the  mosaic  sparkle  of  his  glittering  splen- 
dour is  sadly  dimmed  in  the  little  panel  before  us, 


irmpedal  acaoemp  of  fine  Htts     173 

and  scarcely  to  be  noted,  for  it  has  been  very  badly 
preserved. 

One  of  the  finest  works  of  a  second-rate  master 
is  ''St.  Veneranda  Enthroned"  (No.  S3,  rear 
wall).  This  is  by  Lazaro  Sebastiani,  an  artist  who 
apparently  received  his  training  from  Gentile 
Bellini  and  Carpaccio,  yet  followed  more  closely 
the  lead  of  Quirizio  da  Murano  with  his  stifif  lines 
and  homely  features.  The  painting  before  us  is 
of  very  large  size,  and  in  the  centre  the  saint  sits 
on  a  high  ornate  throne  like  a  goddess  of  Justice, 
holding  an  open  folio  facing  us.  Saintly  women 
and  little  angels  are  disposed  on  each  side  of  the 
throne,  which  is  represented  as  standing  in  a  part 
of  the  Corpus  Domini  Church  of  Venice. 

A  "Christ  bearing  the  Cross''  (No.  509),  in 
half-figure,  is  by  Giovanni  Pedrini,  a  pupil  and 
imitator  of  Leonardo  da  Vinci,  whose  style  he 
exaggerated. 

The  principal  painting  in  Room  II  is  one  of  the 
choicest  of  the  collection.  It  is  a  work  by  Fran- 
cesco Francia  (No.  505,  right  wall),  of  whom  we 
have  already  seen  a  fine  example  in  the  Imperial 
Museum.  The  Madonna,  holding  the  Child  stand- 
ing on  her  knee,  sits  on  a  throne.  A  baldacchino, 
gracefully  draped,  serves  as  a  background  for  the 
figure,  while  the  sainted  bishop  Petronius  on  one 
side,   and   St.   Luke  with  the  open  gospel  on  the 


174     XTbe  art  of  tbe  Dfenna  ©alleries 

other,  flank  the  throne.  The  painting  is  brilHant 
with  a  rich  and  glowing  colour  scheme.  The 
figures  of  the  saints  are  vigorous  and  manly,  their 
robes  flowing  in  heavy,  but  easy  folds  to  their 
feet.  They  are  typical  of  the  grave  and  deeply 
religious  spirit  with  which  the  great  Bolognese 
stamped  his  work. 

Francia's  influence  did  not  extend  far  beyond 
his  immediate  surroundings.  He  occupied  a  place 
apart  towards  the  close  of  the  Renaissance  as  a 
great  master  whose  religious  feeling  did  never  rise, 
indeed,  to  the  perfervid  ecstasy  of  Fra  Angelico, 
but  was  deep,  warm-hearted  and  sympathetic.  His 
meticulous  finish,  gracious  angelfaces,  and  quiet- 
istic  feeling  rendered  him  very  popular  in  his  day. 

Most  of  the  other  works  in  this  Room  are  copies; 
some,  after  Bramantino  of  Milan,  Girolamo  Mu- 
ziano,  and  Torbido  Varotari,  are  interesting. 

Two  works  by  Vittore  Carpaccio  greet  us  on 
entering  Room  IH.  They  hang  near  the  window 
in  a  good  light.  The  one  represents  an  "  Annun- 
ciation''  (No.  43),  the  other  "The  Death  of 
Mary"  (No.  49).  Beauty  of  colour  and  purity 
of  form  are  combined  with  wonderful  originality 
of  composition  in  the  work  of  this  very  personal 
genius.  His  imagination  was  full  of  subtle  inven- 
tions and  happy  surprises  which  set  him  apart  and 
in  a  class  by  himself  among  the  Venetians  of  his 


irmpetial  HcaJ)emB  of  ifine  Hrts     17s 

period.  The  ''  Annunciation  "  especially  is  a  beau- 
tiful work,  divided  in  half  by  one  of  the  two  fine 
columns  that  enclose  Mary's  dormitory.  The  other 
half  of  the  painting  shows  a  formal  Italian  garden 
in  which  the  long-winged  angel  is  approaching.  A 
vignette  of  God  the  Father  is  in  the  upper  left 
corner.  It  is  a  triumph  of  colour  and  of  pictorial 
quality.  The  Apostles,  three  kneeling  priests,  and 
a  choir  of  angels  surround  the  bier  of  Mary  on 
the  other  canvas.  Although  not  so  well  preserved, 
it  yet  reveals  the  sunny  glow  of  its  colours. 

A  large  *^  Crucifixion ''  (No.  90),  with  many 
figures  and  hilly  landscape  background,  covers  the 
rear- wall  of  this  room.  It  is  ascribed  to  Donato 
Veneziano.  Of  the  two  artists  known  by  this 
name  one  was  active  about  1450,  the  other  one 
does  not  appear  until  after  1500.  The  latter  is 
most  likely  the  author  of  this  work,  which  is  only 
interesting  because  of  the  historical  details  of  cos- 
tume to  be  gathered  from  it.  Otherwise  it  has 
little  of  artistic  value. 

A  Lombard  painter  of  the  16th  century  shows 
''Christ  bearing  the  Cross''  (No.  46).  It  is  an 
impressive  single  figure,  dressed  in  a  light  blue 
robe,  bent  under  the  penal  burden. 

In  Room  IV  we  find  several  interesting  works. 
A  large  painting  shows  the  "  Martyrdom  of  St. 
Marc"  (No.  87).     This  was  ordered  in  1514  for 


176     Ubc  Hrt  ot  tbe  IDienna  ©alleries 

the  Scuola  di  San  Marco  from  the  elder  Bellini, 
who  made  the  design  but  had  to  leave  the  paint- 
ing unfinished  at  his  death,  two  years  later.  It 
was  completed  by  Vittore  Belliniano,  whose  hand 
is  readily  detected  in  the  colder  colour  and  in  the 
aggressiveness  of  the  donors'  portraits.  The  land- 
scape, the  finely  conceived  buildings  on  the  left, 
and  the  gold-brown  tones  of  the  colours  running 
towards  the  background  indicate  conclusively  the 
work  of  the  greater  master. 

In  the  centre  of  the  principal  wall  is  a  painting 
(No.  466)  that  may  well  be  ascribed  to  Titian, 
although  some  have  questioned  its  authenticity. 
This  "Cupid''  (Plate  XXII)  is  seated  on  a  stone 
wall,  stretching  his  bow.  A  large,  brightly-lit  cloud 
crowns  the  background.  This  work  must  come 
from  Titian's  early  Giorgionesque  period,  for  the 
same  landscape  and  house-group  appear  in  his 
"  Noli  me  tangere  "  of  the  National  Gallery,  and 
in  Giorgione's  **  Sleeping  Venus  "  of  Dresden. 

A  contemporary  of  Titian  was  Cima  de  Cone- 
gliano,  by  whom  we  find  here  the  middle  part  of 
a  large  lunette  (No.  14),  which  he  painted  for 
the  Doge's  Palace  of  Venice.  We  see  St.  Marc, 
seated  on  a  throne,  flanked  by  St.  Andrew  and  by 
Bishop  Louis  of  Toulouse.  The  two  ends  of  this 
lunette  were  cut  off  the  original  canvas  and  are 
now  preserved  in  the  Academy  of  Venice.     These 


»  5      •         O 


TITIAN 


CUPID 

Plate  XXII 


Imperial 

Academy 

of  Fine  Arts 


irmpetial  Hca&emi?  of  fine  Hrts      177 

show  the  full-length  figures  of  Temperance  and  of 
Justice.  The  Friulian  landscape  which  Cima  gen- 
erally introduced  is  enlivened  here  by  numerous 
birds,  pheasants  and  parrots,  and  is  clear  and  bril- 
liant in  colour.  Cima  shows  an  advance  over 
Bellini's  art,  for  his  composition  is  better,  his 
drawing  more  correct,  the  expression  of  the  faces 
more  grave,  and  his  colouring  by  no  means  inferior. 

Of  a  number  of  portraits  which  bear  the  name 
of  Jacopo  Tintoretto  but  few  may  be  considered 
authentic.  The  best  one  is  the  '*  Portrait  of  the 
Procurator  Contarini ''  (No.  13).  The  full-bearded 
face  is  splendidly  painted,  and  has  that  air  of  good 
breeding  which  Jacopo  was  able  to  infuse,  as  much 
as  Titian  did,  into  his  likenesses. 

A  notable  work  is  a  fresco  painting,  transferred 
to  canvas,  of  a  scene  in  old  Venice  (No.  1126).  A 
group  of  three  young  men  is  seen  standing  under 
the  arches  of  the  Doge's  Palace.  One  points  to  a  fu- 
neral procession  of  gondolas,  illuminated  by  torches, 
which  is  passing  along  the  Grand  Canal.  S.  Giorgio 
Maggiore  is  to  the  left  in  the  background,  the  palace 
of  the  Giudecca  to  the  right.  In  the  beauty  of 
the  background,  in  the  charm  of  the  lines  and  the 
colouring,  there  is  enough  to  make  us  think  of 
the  art  of  Giorgione,  a  man  whose  short  life  was 
filled  with  the  full  spirit  of  the  Renaissance. 

Dating  from  the  Italian  student  days  of  Domen- 


178     XTbe  Htt  of  tbe  IDienna  Oallertes 

ico  Theotocopuli,  el  Greco,  is  an  "  Annunciation  " 
(No.  471),  which  was  undoubtedly  inspired  by  the 
magnificent  painting  of  this  subject  by  Tintoretto, 
now  in  the  Berlin  Museum.  Little  of  el  Greco's 
mannerism  of  figure-elongation  is  here  apparent. 

A  ''Resting  Venus"  (No.  472),  by  Alessandro 
Varotari,  called  Padovanino,  if  compared  with  the 
treatment  of  this  subject  by  Giorgione  and  Titian, 
shows  the  decay  of  Venetian  art  in  the  17th  cen- 
tury. Men  like  Padovanino,  Liberi,  and  Pietro 
della  Vecchia,  devoid  of  original  conceptions,  fell 
back  on  painting  variations  of  the  work  of  the 
greater  masters  which  had  proved  most  popular. 
Sometimes  even  they  shamelessly  manufactured  for 
distant  markets  paintings  that  were  intended  to 
pass  as  the  works  of  Titian,  Veronese,  and  Gior- 
gione. 

The  first  two  divisions  of  the  long  Gallery  V 
contain  a  few  of  the  later  Italians,  and  many  copies. 

The  "Ascension  of  Mary"  (No.  456)  is  by  an 
imitator  of  Guido  Reni,  and  identical  to  this  mas- 
ter's altarpiece  in  the  S.  Ambrogio  at  Genoa. 
A  ''Mater  Dolorosa"  (No.  26)  is  undoubtedly  by 
Sassoferrato.  It  is  an  imitation  of  Raphael's  Flor- 
entine manner,  whereof  the  sentimentality  and 
silvery  tone  stiir  possess  a  certain  charm. 

In  the  second  division  we  note  several  Venetian 
scenes  by  Francesco  Guardi;    and  a  sketch  of  the 


MURILLO 


DICE -PLAYING    BOYS 

Plate  XXIII 


Imperial 

Academy 

of  Fine  Arts 


irmperial  HcaOemp  of  jfine  Hrts      179 

"Allegory  of  Dawn"  (No.  484),  by  Tiepolo,  who 
still  retained  the  quality  of  force  which  his  con- 
temporaries were  losing.  The  half-figure  of  St. 
Bruno  (No.  517)  shows  also  that  he  was  by  no 
means  deficient  as  a  delineator  of  character. 

THB   SPANISH    PAINTINGS 

are  found  in  the  third  compartment  of  the  long 
Gallery.  Among  a  number  of  copies  we  note  at 
once  one  of  the  finest  examples  of  Bartolome 
Esteban  Murillo.  It  is  one  of  his  celebrated  beggar- 
boys  pictures,  upon  which  so  large  a  portion  of 
his  fame  rests,  although  not  one  example  of  these 
is  to  be  found  in  any  public  gallery  in  Spain.  These 
"  Dice-playing  Boys  "  (No.  515.  Plate  XXIII)  are, 
if  anything,  more  attractive  than  his  famous 
"  Melon-eaters  ''  of  the  Munich  Pinakothek. 

Few  men  have  so  well  understood  the  art  of 
pictorial  composition,  or  known  so  well  how  to 
charm  the  eye  by  gradations  of  light,  skilful  but 
unstudied  attitudes,  and  adroit  foreshortenings. 
And  never  did  he  paint  as  lovingly,  with  such  pecu- 
liar delight,  as  when  he  depicted  the  jocund  poverty 
of  Andalusian  gamins.  This  is  a  picture  which 
fully  illustrates  the  gift  for  colour  wherewith  nature 
had  endowed  the  master.  It  is  unctuous,  warm 
and  charming,  for  the  nonce  consistently  har- 
monious in  its  colouring,  —  for  sometimes  Murillo 


i8o     ttbe  Hrt  of  tbe  IDienna  ©allerles 

failed  in  this,  —  here  he  is  exquisitely  inspired. 
Only  by  placing  this  work  alongside  of  a  Velasquez, 
with  his  aristocratic,  masterful  palette,  does  it 
become  merely  pretty.  By  itself  it  has  all  the 
pungency  of  local  colour,  a  lifelike  and  picturesque 
humanity. 

The  successor  of  Velasquez  in  court- favour, 
Carreno  de  Miranda,  is  represented  by  a  large  com- 
position (No.  511),  a  sketch  for  the  **  Founding 
of  the  Order  of  Trinitarians,"  which  he  painted 
later  as  an  altarpiece  in  the  church  of  Pamplona. 
It  is  broadly  handled,  and  the  light-efifects  are  well 
indicated. 

A  "  Christ  among  the  Doctors ''  (No.  512)  is  of 
artistic  value,  but  nothing  is  known  of  its  reputed 
author  Mathias  de  Torres.  It  is  an  unusual  pre- 
sentment of  the  youthful  Messiah  discoursing  ex 
cathedra  with  heavily-shawled  rabbis  occupying  the 
pupil-benches.  Also  an  "  Ecce  Homo"  (No. 
1082),  by  an  unknown  Spaniard,  deserves  recogni- 
tion. There  is  here  also  an  excellent  copy,  proba- 
bly contemporaneous,  of  a  portrait  of  Philip  IV 
on  horseback,  of  Velasquez  (No.  513).  Another 
portrait,  that  of  a  Lady  (No.  514),  was  for  a 
time  thought  to  be  by  Velasquez  himself,  but  is 
now  considered  to  be  in  the  style  of  Cornelis  de 
Vos,  to  whom  is  also  ascribed  the  portrait  of  a 
boy   (No.  661,  on  the  long  wall).     Both  are  de- 


HANS 
BALDUNG 
GRIEN 


REST    ON    THE    FLIGHT    TO    EGYPT 
Plate  XXIV 


Imperial 

Academy 

of  Fine  Arts 


irmperial  acabemp  ot  jfine  Hrts      iSi 

cidedly   Flemish   and   do   not   belong  to   this   sec- 
tion. 

We  will  now  leave  this  Gallery  for  the  present 
and  enter  the  long  Corridor,  where  we  find  first 

THE    EARLY    GERMAN    PAINTINGS. 

In  the  first  compartment  we  find  a  "  Lamenta- 
tion of  Christ''  (No.  35),  which  bears  the  name 
of  Albrecht  Diirer,  on  the  suggestion  of  Waagen. 
Although  the  technique  points  to  the  great  Nurem- 
berg master,  there  is  much  more  that  points  to 
an  author  of  less  dramatic  force.  The  relative 
sizes  of  the  figures,  irrationally  diminishing,  indi- 
cate a  crude  and  unsuccessful  attempt  at  linear 
perspective  in  which  Diirer  would  never  have  failed. 
The  earlier  ascription  to  Lucas  Cranach  is  more 
probably  correct. 

A  landscape  with  the  Holy  Family  (No.  564) 
is  by  the  monogrammist  H.P.,  and  is  a  naive 
presentation  of  the  first  steps  the  child  Jesus  is 
taking,  guided  by  Joseph. 

Of  great  interest  is  an  early  example  of  Hans 
Baldung  Grien,  a  "  Rest  on  the  Flight  to  Egypt  " 
(No.  545,  Plate  XXIV).  A  replica  of  this  pic- 
ture, with  but  slight  variations  in  the  landscape 
and  the  omission  of  the  putto  in  the  lower  left 
corner,  is  found  in  the  Germanic  Museum  of  Nu- 
remberg.    The  Madonna  is  resting  at  the  foot  of 


i82     Ube  Hrt  of  tbe  IDienna  Galleries 

a  heavy,  moss-laden  tree.  The  Child  embraces  her 
caressingly.  A  putto  has  gathered  a  basket  of 
strawberries,  and  is  now  getting  water  from  the 
spring,  while  Joseph  is  studying  a  map  for  his 
travels  to  the  unknown  land  —  a  queer  anachro- 
nism. 

The  Strassburger  Baldung  came  nearest  to  Diirer 
among  all  his  contemporaries  in  energetic  drawing, 
even  surpassing  him  in  movement  and  picturesque 
ornament.  Not  a  single  old  man's  head  by  Diirer 
—  even  of  his  famous  Apostles  in  the  Uffizi  — 
surpasses  the  force  and  characterisation  of  Joseph's 
portrait  in  the  picture  before  us. 

The  examples  found  here  of  Lucas  Cranach,  the 
Elder,  complement  the  study  of  his  works  in  the 
Imperial  Museum.  We  find  here  a  fine  nude  figure, 
signed  and  dated  1532,  named  "  Lucretia "  (No. 
557),  in  the  style  of  his  *' Venus "  of  the  same 
year  which  is  now  in  Frankfort.  How  little  his 
style,  which  underwent  a  marked  transition  in 
larger  compositions,  changed  in  these  subjects  may 
be  seen  by  comparing  this  Lucretia  with  Cranach's 
*'  Venus  and  Cupid  "  of  the  Hermitage,  which  was 
painted  in  1509.  An  earlier  work  is  one  of  his 
rare  presentations  from  the  antique,  the  "  Struggle 
of  Hercules  with  Antaeus"  (No.  1148),  a  subject 
which  he  had  often  seen  portrayed  in  upper-Italian 
etchings.  The  amorous  conflict  between  an  elderly 


irmperial  acaOem^  of  fine  Utts     183 

lover  and  a  coy  maiden  who  abstracts  money  from 
his  pouch  (No.  559),  is  a  variation  of  the  same 
subject,  from  Cranach's  own  hand,  which  we  saw 
in  the  Imperial  Museum.  The  painting  here  is 
probably  a  studio  repetition.  Several  other  school 
pictures  (Nos.  576,  595,  542,  544)  further  exem- 
plify Cranach's  style. 

There  is  a  highly  coloured  and  richly  composed 
''Memento  Mori"  (No.  572)  by  the  monogram- 
mist  H.F.,  most  likely  the  Basel  painter  Hans 
Fries,  who  worked  under  Holbein's  influence. 
Behind  a  man  of  middle  age  the  skeleton  Death 
appears  with  his  hour-glass  to  admonish  the  end 
of  all  things.  Although  there  is  much  resemblance 
in  technical  execution  between  this  picture  and  a 
"Death  of  Mary"  (No.  573),  it  seems  that  the 
latter  belongs  rather  to  the  Altdorfer  school. 

A  "Last  Judgment"  (No.  554),  is  by  Johann 
Rottenhammer,  or  else  a  contemporaneous  copy; 
and  a  "  Rest  on  the  Flight  to  Egypt "  (No.  253)  is 
by  another  late  16th  century  artist,  Bartholomaeus 
Spranger.  A  finely  pencilled  "  Venus  in  a  wooded 
Landscape"  (No.  726)  is  easily  recognised  as  by 
Adam  Elsheimer. 

THE  DUTCH   AND   FLEMISH   PAINTINGS 

are  all  found  in  this  Corridor,  and  we  must  return 
to  its  first  compartment  to  view  a  notable  work 


i84     Zbc  art  of  tbe  IDienna  ©alleries 

by  Lukas  van  Leyden.  This  is  called  "  The  Sibyl 
of  Tibur  and  the  Emperor  Augustus"  (No.  568. 
Plate  XXV). 

Very  few  of  the  easel-pictures  of  Lukas  van 
Leyden  are  known  to  exist,  Holland  possessing  only 
one  altarpiece,  a  "  Last  Judgment/'  now  in  the 
Lakenhal  of  Leyden.  Our  picture  here  is  in  tem- 
pera and  transferred  to  canvas,  the  colours  having 
darkened  considerably.  It  represents  the  legend 
that  years  before  the  birth  of  Christ  the  Tibur- 
tinian  Sibyl  showed  to  the  Emperor  Augustus  the 
image  of  the  Madonna  holding  the  Babe.  This 
painting  furnishes  an  interesting  instance  of  the 
results  of  critical  study.  The  Madonna  vignette 
which  appears  at  the  top  is  a  veritable  copy  of 
Diirer's  woodcut  which  appeared  in  1508,  so  that 
the  painting  must  have  been  made  after  that  date. 
But  we  note  further  the  tendency  to  figure-elonga- 
tion which  appears  in  the  engravings  which  we  have 
of  Lukas  van  Leyden,  but  which  disappears  in  his 
later  paintings.  It  is  plausible  therefore  to  place 
this  work  in  the  early  years  of  this  very  precocious 
artist,  or  about  1510  or  1512. 

Nearby  hangs  a  *^  Holy  Family''  (No.  556), 
attributed  to  the  Master  of  the  Death  of  Mary, 
or  Joost  van  Cleve,  to  give  him  the  name  found 
for  him. 

On  the  long  wall  we  find  a  genuine  example  of 


#  li^ 


^»»:  :■          J^    ^v      t^^^^        m^.  A 

/^ 

y '  ^7  ^^y  ^^*^Q$^ 

THE 

SIBYL 

OF 

TIBUR 

AND 

THE 

EMPEROR 

AUGUSTUS 

LUKAS 

Imperial 

VAN 
LEY DEN 

Plate 

XXV 

Academy 
of  Fine  Arts 

irmperial  Hca5emi?  of  ifine  Hrts      185 

the  elusive  Hendrik  met  de  Bles.  This  "  Rocky 
Landscape''  (No.  548),  with  scenes  from  the 
Passion  in  small  figures,  is  signed  with  the  little 
owl,  which  gave  the  artist  his  Italian  name  of 
Civeta.  An  old  copy  of  Hendrik's  work  hangs  in 
the  third  compartment  (No.  551).  The  copyist 
was  well  able  to  follow  his  exemplar  in  the  small 
figures  and  animals  of  these  scenes  from  the  life 
of  Christ  and  of  John  the  Baptist,  but  he  could 
not  reach  him  in  the  landscape  part,  which  is  flaccid 
and  weak. 

The  fourth  compartment  contains  much  of  in- 
terest. The  only  work  in  Vienna  of  the  rare  Dirk 
Bouts  of  Haarlem,  who  went  to  Lou  vain  to  study 
with  Rogier  van  der  Weyden,  is  found  here.  It 
is  a  ''Coronation  of  Mary"  (No.  558),  a  magni- 
ficent work  which  formerly  was  thought  worthy 
to  be  ascribed  to  Memlinc,  but  was  rightly  assigned 
by  Waagen.  The  Munich  examples  of  this  master 
deal  more  with  the  solution  of  light-problems  in 
landscape,  but  here  we  find  an  equally  masterful 
rendition  of  interior  light.  The  architectonic 
canopy,  under  which  the  persons  of  the  Trinity 
place  the  crown  upon  the  head  of  the  kneeling 
Madonna,  fills  almost  the  entire  panel.  Still  there 
IS  room  for  the  skilfully  grouped  choir  of  singing 
angels  on  each  side.  The  light,  which  apparently 
comes  from  the  front  as  well  as  through  the  cathe- 


i86     TLbc  art  of  tbe  Dienna  Galleries 

dral  windows  in  the  background,  enriches  the  soft 
harmony  of  the  colours. 

The  "Three  Crosses"  (No.  552),  on  which  a 
forged  monogram  of  Diirer  is  found,  is  by  a  weak 
follower  of  Memlinc.  Among  the  many  figures 
we  find  the  Magdalene,  dressed  in  white,  most  im- 
pressive. Another  ''Crucifixion"  (No.  555)  can- 
not, although  the  tablet  so  ascribes  it,  be  given  to 
an  old-Flemish  master  —  it  bears  more  the  impress 
of  German  workmanship  under  North-Netherland 
influences.  The  coats  of  arms,  moreover,  displayed 
in  the  foreground,  point  to  Silesia  and  Bavaria. 
Frimmel  suggests  a  new  name  among  the  large 
number  of  anonimi  for  the  unknown  painter  of 
this  picture.  He  would  call  him  the  Master  of 
the  Big  Nose,  and  claims  to  have  found  a  related 
work  in  the  Gallery  of  Modena,  the  figures  of 
which  have  also  long  noses.  The  same  critic 
ascribes  a  very  fine,  small  altarpiece  (No.  567  and 
570)  to  Cornelis  Engelbrechtsen,  the  teacher  of 
Lukas  van  Ley  den  —  a  rare  find,  if  true,  for  only 
two  of  his  works  are  known  to  exist  in  Holland. 

A  large  triptych  (Nos.  579-581)  is  by  Hierony- 
mus  or  Jeroen  Bosch,  the  fantastic  painter  of  queer 
creatures  and  monstrosities,  who  satirised  human 
frailties  by  picturing  the  analogous  torments  to  be 
expected  hereafter.  The  middle  panel  shows  the 
Last  Judgment,  the  left  wing  Paradise  and  the  Fall 


PIETER 

DE 

HOOCH 


FAMILY    GROUP 
Plate  XXVI 


Imperial 

Academy 

of  Fine  Arts 


fmperfal  Hca5ems  of  ifine  Hrts      187 

of  man,  the  right  wing  Purgatory  and  Hell.  It 
is  a  characteristic  work  which  plainly  shows  the 
fount  where  from  the  later  Flemings,  Pieter 
Breughel  and  the  younger  Teniers,  and  also  Diirer 
and  Cranach  drew  their  inspiration. 

Quite  a  chronological  jump  is  made  when  we 
find  hanging  in  this  same  partition  a  masterpiece 
by  the  17th  century  Pieter  de  Hooch.  This  *'  Fam- 
ily Group"  (No.  715.  Plate  XXVI)  gives  a 
graphic  description  of  the  social  life  of  the  Dutch 
patricians  of  the  17th  century.  The  scene  is  the 
back  yard  of  the  home  of  the  old  gentleman  who 
sits  at  the  teatable.  Visitors  approach,  and  one 
has  departed  through  the  open  door  in  the  fence 
which  separates  the  rear  yards  of  the  abutting 
houses.  The  entire  scene  is  bathed  in  sunlight,  and 
the  view  is  enlarged  by  the  magnificent  aerial  per- 
spectif.  The  different  planes  melt  into  one  another 
by  imperceptible  gradations.  It  is  a  simple  scene 
which  becomes  wonderfully  animated  by  the  vital 
transcription  of  nature. 

In  the  next  compartment  we  find  a  magnificent 
"Portrait  of  a  Young  Woman"  (No.  611),  by 
Rembrandt,  which  is  dated  1632,  the  year  of  the 
famous  Anatomy  Lesson,  when  the  artist  was  but 
twenty-six.  The  young  girl  is  seated  in  an  arm- 
chair, in  an  easy  attitude  as  if  ready  for  conversa- 
tion without  any  idea  of  pose.     The  simplicity  of 


i88     Uhc  Hrt  ot  tbe  Dienna  Galletles 

her  plain  black  dress  is  only  relieved  by  the  lace 
manchettes  at  the  wrists,  the  stiff  pleated  tulle  ruff 
which  circles  the  neck,  and  the  dainty  lace  cap 
that  fits  snugly  over  the  flat-combed  hair.  The 
figure  is  well  defined  against  the  dark  background. 
The  face  is  entirely  in  light,  lifelike  and  fresh  in 
colour.  The  whole  portrait  is  finished  with  ex- 
treme care,  as  was  then  the  master's  way,  yet  it 
does  not  lack  freedom  in  the  treatment,  for  the 
utmost  vitality  animates  even  now  this  young  girl 
of  Amsterdam  of  three  centuries  ago. 

A  direct  pupil  of  Rembrandt  was  Gabriel  Metsu. 
He  was  of  an  impressionable  character,  and  in  his 
short  life  of  seven  and  thirty  years  he  painted  in 
the  style  of  each  one  of  his  teachers,  Dou,  Jan 
Steen,  and  Rembrandt.  The  last  one  had  naturally 
most  influence  on  his  work.  The  "  Amorous 
Pleading''  (No.  658)  is  an  unusually  large  com- 
position for  this  one  of  the  Little  Masters  —  so 
called  because  of  the  usually  small  size  of  the  pic- 
tures these  Great  Masters  painted.  It  is  entirely 
in  that  later  broad  style  of  Rembrandt  which  finds 
its  clearest  echo  in  the  work  of  Govert  Flinck  and 
van  den  Eeckhout. 

One  of  the  last  disciples  of  Rembrandt  was 
Aert  van  Gelder,  an  artist  who  was  too  eccentric 
to  attain  to  eminence,  and  whose  work  is  at  its 
best  when  he   follows   his   master's  example   with 


XflRK 
HALS 


CELLO    PLAYER 
Plate  XXVII 


Imperial 

Academy 

of  Fine  Arts 


IFmperial  Hcabem^  of  if  ine  Hrts      189 

reserve.  We  find  here  a  '^  Judah  and  Thamar " 
(No.  817)  in  worthy  imitation  of  Rembrandt's 
later  bibHcal  compositions. 

One  of  the  earHest  pupils  in  the  studio  on  the 
Jewish  Breestraat  in  Amsterdam  had  been  Nicolaas 
Maes  —  perhaps  the  most  gifted  of  them  all,  who 
has  painted  works  that  rival  in  true  artistic  merit 
the  work  of  Rembrandt  and  Hals,  as  may  be  seen 
especially  in  the  Ryksmuseum  of  Amsterdam.  But 
in  his  later  years  he  succumbed  to  the  demands  of 
the  Frenchified  taste  of  his  countrymen,  and  he 
painted  a  number  of  children's  portraits,  as  well  as 
adults  for  the  patrician  families  of  his  time  in  a 
style  that  may  be  called  pleasing,  but  certainly  was 
meretricious.  An  example  of  this  later  period  we 
find  here  in  the  "Portrait  of  a  Boy"  (No.  670), 
dressed  in  a  fancy  costume,  with  a  number  of 
bright  plumes  on  his  hat. 

Of  greater  artistic  merit,  and  of  rare  excellence 
withal,  is  the  "Cello  Player"  (No.  734.  Plate 
XXVII),  by  Dirk  Hals,  the  elder  brother  of  Frans. 
He  was  among  the  first  to  devote  himself  to  genre 
painting,  which  he  executed  with  unconventional 
unction.  His  light  brush,  his  brilHant  colour,  laid 
on  thinly  over  a  greyish  ground  and  sharply  accen- 
tuated, suited  the  themes  and  the  small  scale  of 
his  pictures,  which  are  quite  rare.  An  example  of 
his  social  groups  is  also   found  here    (No.   684), 


igo     ICbe  Hrt  of  tbe  IDienna  ©allertes 

which  shows  dexterous  grouping  and  excellent 
painting  of  textures. 

Pieter  Codde  painted  like  subjects,  but  he  was 
more  stiff  in  posing  and  arrangement,  although  his 
assemblies  excel  in  fine  colour  and  careful  minute- 
ness, as  may  be  seen  in  the  "Dance  Party''  (No. 
1096),  in  the  sixth  compartment.  A  "Duet" 
(No.  696)  of  two  musicians  is  possibly  from 
Codde's  hand,  although  the  name  of  Jacob  Duck 
has  also  been  mentioned.  Of  this  artist  we  find 
here  an  undoubted  example  in  a  "  Sleeping  Maiden, 
surprised  by  a  Cavaher  "   (No.  713). 

Somehow  several  pictures  by  the  great  Fleming, 
David  Teniers  the  Younger,  are  found  here  among 
the  Dutchmen.  One,  a  small  bust-piece  of  a 
"Young  Man''  (No.  690),  is  only  problematically 
ascribed  to  him,  but  No.  865  is  undoubtedly 
genuine,  and  leads  us  to  a  witches'  dance  on  a 
Walpurgis  night.  It  would  be  difficult  to  match 
the  mad  conceits  and  wild  orgies  of  the  kobolds 
and  goblins  in  this  picture.  One  may  hear  the 
noise  of  singing,  screaming,  screeching  and  croak- 
ing in  the  delirious  gambol.  The  artist  also  de- 
picted the  "Five  Senses"  (No.  821-825)  in  the 
form  of  peasants  —  quite  an  antithesis  to  Makart's 
ravishing  divinities  representing  the  Senses  which 
we  shall  see  in  the  Lower  Belvedere. 

Immediate  pupils  of  Frans  Hals  were  the  two 


irmpertal  Hca5emi?  of  jfine  Hrts     191 

Adriaens,  Brouwer  and  van  Ostade.  Adriaen 
Brouwer,  by  birth  a  Fleming,  but  trained  in  Haar- 
lem, showed  more  grossness  in  his  peasant  scenes 
than  van  Ostade  whose  humour  was  keener  and, 
as  far  as  the  subject  allowed,  more  refined.  A 
rare  "Dune  Landscape"  (No.  705)  is  by  Brou- 
wer's  own  hand,  while  No.  888  is  a  copy  of  a 
peasant  scene  in  a  tavern,  the  original  of  which 
is  in  Budapest.  By  Adriaen  van  Ostade  we  find 
a  "Comic  Reader"  (No.  732),  and  in  the  next, 
the  seventh  compartment,  "  Two  Peasants  in  the 
Tavern"  (No.  724).  These  pictures  are  spark- 
ling with  good-humour,  less  boisterous  than  Brou- 
wer's  peasants,  and  distinctly  amusing. 

Pieter  de  Bloot,  of  whom  little  is  known,  painted 
droll  scenes  in  like  vein  —  see  his  "  Landscape  " 
(No.  830)  with  many  small  figures.  A  "Drunken 
Frolic  of  two  Peasants"  (No.  721)  is  by  Corne- 
lls Pietersz.  Bega,  one  of  van  Ostade's  pupils.  Also 
Cornells  Dusart,  coming  from  the  same  studio,  kept 
himself  to  the  tavern  for  his  models,  but  still  de- 
picted the  plain  people  with  homely  beauty  and 
charm.  An  excellent  example  is  No.  698,  of  a 
peasant  and  his  wife.  Richard  Brakenburgh  is  as 
lively  as  the  rest,  but  he  lacks  definite  colour-sense 
—  see  No.  725. 

There  is  still  found  in  this  sixth  partition  a  mas- 
terpiece of  the  London-born   Pieter   Molyn,   who 


192     Zbc  Hrt  of  tbe  IDienna  (Balleries 

became  a  member  of  the  Guild  of  Haarlem  in  1616. 
This  ''Scene  before  an  Inn"  (No.  730)  is  dis- 
tinguished by  suppleness  of  handling,  broad  and 
striking  treatment,  and  truthful  conception. 

We  find  several  excellent  examples  in  the  seventh 
compartment  by  the  Dutch  portrait  painters,  al- 
though the  best  of  these  we  shall  see  later  in  Gal- 
lery V.  One  of  the  first  who  specialised  in  paint- 
ing portraits  was  Antonis  Mor.  He  was  early  im- 
pressed by  Titian,  but  developed  an  original  style 
which  excels  in  warm  colour  and  roundness  of 
form,  more  indicated  by  the  management  of  the 
colour  than  by  the  sharpness  of  line.  His  "  Por- 
trait of  a  Young  Man  "  (No.  1127)  is  a  character- 
istic example. 

Pupils  of  Rembrandt  were  Fabricius  and  Bol. 
Parent  Fabricius  has  here  one  of  his  finest  works, 
a  well-dressed  young  man,  carrying  a  shepherd's 
staff  (No.  639).  The  face  is  exceedingly  well 
blocked  in,  strong  and  characterful,  while  the  light- 
efifect  is  luminous.  Ferdinand  Bol  was  far  less 
talented.  His  early  work  bears  unmistakably  the 
stamp  of  his  master,  but  in  later  years  he  became 
very  uncertain  and  lost  the  power  of  chiaroscuro, 
his  pictures  merely  having  a  yellow  tone.  The 
"Man  with  a  grey  Beard"  (No.  610)  is  of  this 
later  period.  One  of  the  last  men  of  the  golden 
age  of  Dutch  art,  and  one  of  the  weakest,   was 


Ilmperial  Hcabemi?  ot  ifine  Hrts      193 

Willem  van  Mieris.  His  "  Portrait  of  a  fat  Gen- 
tleman''  (No.  1083),  a  bust,  is  but  an  indifferent 
performance. 

We  find  here  also  the  work  of  the  men  who 
combined  landscape  with  figures.  One  of  the 
earliest  was  Cornelis  van  Poelenburgh,  who  painted 
in  Elsheimer's  manner.  The  example  here  (No. 
666)  represents  a  group  of  mythological  divinities, 
Venus,  Bacchus,  Ceres,  and  two  cupids,  holding 
a  conversazione  in  the  clouds. 

More  national  in  feeling  was  Philip  Wouwerman 
—  here  with  two  fine  examples,  a  ''Camp  scene'' 
(No.  691)  and  a  "Cavalry  Battle"  (No.  835), 
the  latter  an  unusually  large  composition.  The 
landscape  portion,  with  foliage  verdant  and  clear, 
is  an  important  part,  and  does  credit  to  the  in- 
struction Wouwerman  received  from  the  early 
landscape  painter  Jan  Wynants.  But  horses  were 
Philip's  favourite  study,  and  their  form  and  action 
is  impeccably  shown  in  his  work.  An  exceedingly 
rare  cattlepiece  by  Philip's  younger  brother,  Pieter 
Wouwerman,  of  w^hom  little  is  known,  hangs 
near. 

The  group  of  Italianised  Dutch  landscape  paint- 
ers is  represented  by  Pieter  van  Laer,  called  Bam- 
boccio,  by  whom  we  have  a  scene  of  Roman  country 
life  (No.  790),  and  an  "Italian  Landscape"  (No. 
834),  with  numerous  figures.     Also  a  peculiar  mi:?^- 


194     XTbe  Hrt  ot  tbe  IDtenna  ©alleries 

ture  of  Dutch  and  Italian  manner  is  offered  by 
Johannes  Lingelbach,  showing  a  public  square  in 
Rome  (No.  803).  Jan  Both,  despite  his  ItaHan 
leaning,  still  retained  some  of  his  racial  character- 
istics, as  we  detect  in  a  "Landscape"  (No.  593), 
where  the  warm  southern  sunlight  suffuses  the 
scene  in  a  Dutch,  i.  e.,  an  atmospheric  manner,  and 
not  in  the  bald,  hot  tint  of  the  thorough-paced 
Italians. 

The  ninth  compartment  contains  six  examples  by 
Nicolas  Berchem,  all  painted  in  the  artist's  Italian 
manner.  Although  a  pupil  of  van  Goyen,  Berchem 
never  quite  overcame  the  impressions  gained  by  a 
later  sojourn  in  Italy,  so  that  his  landscapes  are 
always  mountainous  and  dotted  with  ruins,  while 
his  peasants  or  beggars  hail  from  the  Roman  Cam- 
pagna.  Still  he  gives  these  scenes  a  northern  sem- 
blance by  luminous  atmospheric  effects.  Similar 
scenes  were  painted  by  Jan,  called  Krabbetje 
Asselyn,  better  known  as  a  painter  of  fowls,  but 
who  shows  great  strength,  and  nowhere  more  so, 
in  the  landscape  we  find  here.  The  small  "  Cava- 
lier" (No.  709)  was  painted  by  the  precocious 
youth  when  only  fourteen  years  old.  A  "  Land- 
scape"  (No.  836),  with  the  seashore  in  the  dis- 
tance, and  an  *' Italian  landscape"  (No.  869)  are 
of  his  later  years.  These  are  colourful  and  of 
poetic  feeling.     Several  animal  paintings  by  Karel 


irmperial  Hca^ems  ot  3fine  Hrts      195 

du  Jardin  are  in  this  and  in  the  next,  the  tenth, 
compartment. 

Better  cattle  painting  is  found,  in  the  eleventh 
division,  in  the  ''Market''  (No.  874),  by  Adriaen 
van  de  Velde,  an  artist  who  was  equally  proficient 
in  painting  landscapes,  coastviews,  domestic  ani- 
mals, and  human  figures.  His  sense  of  tone  and 
colour  is  to  be  admired,  as  well  as  his  delicacy  of 
form  and  outline.  He  shows  a  wonderful  sub- 
tlety in  the  gradations  of  almost  neutral  hues. 

But  the  great  landscape  painters  greet  us  now. 
We  find  here  two  examples,  and  in  the  twelfth 
division  two  more,  of  the  foremost  Dutch  land- 
scapist,  Jacob  van  Ruisdael.  In  an  "  Autumn 
Landscape''  (No.  881)  night  is  softly  folding  the 
heavy  trees  in  slumbrous  darkness.  The  "  Land- 
scape with  the  Board- fence  "  (No.  893),  although 
by  Hofstede  de  Groot  considered  to  be  the  master- 
piece of  the  little-known  Gerrit  van  Hees,  bears 
not  only  Ruisdael's  signature,  but  fully  the  impress 
of  his  masterful  treatment.  The  "  Forest  Land- 
scape"  (No.  889)  is  his  masterpiece  here.  A  rich 
wooded  stretch,  with  a  brook  on  which  two  ducks 
are  swimming  in  the  foreground,  is  further  enli- 
vened by  a  few  human  figures  trudging  along  the 
path.  The  sun,  now  disappearing,  then  again 
bursting  forth,  illuminates  the  scene  with  a  golden 
glow.     It  is  a  most  charming  picture,  brighter  in 


196     XTbe  art  of  tbe  IDienna  ©alleries 

mocd  than  the  melancholy  master  usually  painted. 
His  usual  note  of  gloom  is  forcibly  struck  in  the 
"Coming  Storm''  (No.  877),  where  a  shepherd 
hurries  his  flock  through  the  oak  forest  to  escape 
the  blast.  Ruisdael  loved  to  paint  trees  and  dense 
thickets,  the  impressiveness  of  which  no  one  has 
felt  or  expressed  better.  His  was  a  grave  mind, 
often  dominated  by  moody  clouds,  and  he  chose 
the  grave,  sombre  aspects  of  nature  more  frequently 
than  her  bright  side  —  but  even  in  his  pathos  he 
was  picturesque. 

The  man  who  inspired  Ruisdael  to  paint  his 
magnificent  views  of  tumbling  water,  whereof  we 
saw  a  masterpiece  in  the  Imperial  Museum  was 
Allert  van  Everdingen.  This  adventurous  artist 
had  taken  a  sea-trip  to  the  Baltic  with  a  friendly 
captain,  and  had  suffered  shipwreck  on  the  Nor- 
wegian coast.  The  romantic  wilds  of  these  regions, 
the  grand  forms  of  rocks,  and  the  picturesque  water- 
falls completely  enamoured  him,  and  with  his  facile 
touch  he  soon  transferred  them  to  canvas.  It  was 
a  new  subject  for  the  Hollanders,  and  the  artist 
became  exceedingly  popular,  much  to  his  pecuniary 
advantage.  His  large  "Waterfall''  (No.  823) 
may  duly  be  considered  one  of  his  chefs  d'oeuvre. 

Jan  van  Goyen  was  the  pathfinder  of  landscape 
art,  and  stands  only  next  to  Jacob  van  Ruisdael  in 
eminence.     His  manner  is  very  individual,  for  he 


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Ifmperial  Hcabemij  ot  ifine  arts      197 

developed  from  a  realistic  presentation  of  the 
colours  of  nature  to  a  gradual  subordination  of 
colour  to  tone,  keeping  his  pictures  in  but  one  key, 
usually  brown  or  grey.  His  ''  View  of  Dord- 
recht"  (No.  814.  Plate  XXVIII)  is  a  character- 
istic example.  The  large  "Marine"  (No.  736. 
Compartment  14)  is  also  a  beautiful  painting  with 
its  placid  water  where  tall  craft  lazily  float. 

A  notable  marine  painter,  only  lately  fully  ap- 
preciated, was  Simon  de  Vlieger,  whose  fine  light- 
effect  is  attractive  in  a  "Harbour''  (No.  876) 
with  many  vessels  riding  at  anchor  in  the  road- 
stead. Willem  van  de  Velde  shows  more  agitated 
water  in  Nos.  788  and  792,  but  these  examples 
are  not  so  good  as  the  work  of  this  artist  in  the 
Ryksmuseum  at  Amsterdam. 

In  the  last  division  of  the  Corridor  we  find  some 
interesting  works  by  the  architectural  painters. 
These  are  principally  church-interiors  by  Pieter 
Neeffs,  Emanuel  de  Witte,  and  several  by  Hendrik 
van  Vliet,  of  exquisite  light-management.  There 
are  also  city  views  by  Jan  van  der  Heyden  and 
by   Gerrit   Berckheyden. 

Retracing  now  our  steps  through  the  Corridor 
we  return  to  Gallery  V,  and  resume  our  survey 
there  with  the  fifth  alcove.  Here  we  find  the  works 
of  Peter  Paul  Rubens.  At  least  three  of  these 
belong  to  the  finest  products  of  the  master's  brush; 


iqS     XCbe  Hrt  of  tbe  IDtenna  (Balleries 

while  over  a  dozen  other  examples  are  interesting 
sketches,  many  of  these  for  ceiling  paintings  of 
the  Antwerp  Jesuit  church  which  was  burned  in 
1718. 

The  "Abduction  of  Oreithyia  by  Boreas"  (No. 
626)  is  a  famous  work.  The  nymph,  struggling 
in  the  arms  of  Boreas,  is  carried  through  the  clouds. 
In  the  lower-right  corner  two  putti  are  pelting 
each  other  with  snowballs,  balancing  in  the  com- 
position the  dark  wing  of  the  wind-god  in  the 
upper-left  corner.  Numberless  copies  have  been 
made  of  this  remarkable  work.  We  see  in  this 
picture  the  wonderful  perfection  which  Rubens 
attained  in  a  most  difficult  department  of  painting, 
in  which  he  was  habitually  superior,  that  is,  in  the 
drawing  of  very  substantial  bodies  floating  lightly 
in  space  without  any  support.  The  secret  of  this 
lies  in  the  manner,  never  surpassed  and  only  ap- 
proached by  Tintoretto,  in  which  he  foreshortened. 
It  was  a  talent  which  alone  enabled  him  to  present 
so  naturally  the  wonderful  productions  of  his 
creative  fancy  in  every  possible  variety  of  attitude. 

It  is  but  natural  that  our  thoughts  will  revert  to 
that  other  Abduction  we  saw  in  the  Imperial 
Museum,  of  Ganymede  by  the  Eagle  of  Jupiter, 
painted  by  Correggio.  A  comparison  of  the  rela- 
tive position  of  these  two  artists  will  at  once 
suggest  itself  to  the  mind,  and  the  judgment  will 


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Ifmperial  Hca5emi?  ot  jfine  Hrts      199 

be  that  while  the  ItaHan  master  had  greater  re- 
finement and  the  distinction  of  beauty  in  form 
and  colour,  the  Flemish  master  far  surpasses  him 
in  boldness,  strength  and  grandeur. 

The  "Three  Graces''  (No.  646)  is  a  magnifi- 
cent example  of  the  rich,  voluptuous  presentation 
of  the  female  nude  figure.  The  three  beautiful 
figures  hold  a  large  basket,  filled  to  overflowing 
with  roses,  above  their  heads.  The  luxuriant 
display  of  white,  rosy  flesh,  the  mellow  suppleness 
of  the  yielding  torsos,  the  bloom  of  life,  the  rich- 
ness of  nature's  ornaments  of  brilliant  flowers, 
the  iridescent  mingling  of  colour  and  light  —  all 
show  Rubens  in  his  glory. 

And  still  another  masterpiece  is  the  "  Tigress 
and  her  Young  "  (No.  606.  Plate  XXIX).  Here 
is  not  a  thin  and  languid  captive  of  the  menagerie, 
but  the  free  and  terrible  beast  of  the  jungle,  of 
sudden,  catlike  leaps,  muscles  of  steel,  fearful  jaws 
and  claws  —  even  as  she  now  reclines  to  maternal 
duties.  What  soft,  silky  fur,  brown  and  gold, 
what  ease  of  drawing,  what  glow  of  colour  is 
found  in  this  matchless  work. 

The  wide  embrace  of  his  magician's  brain  is 
seen  in  the  sketches,  here  and  in  the  next  alcove. 
Saints,  Dancing  Peasants,  Scenes  from  the  Passion 
and  the  Glory  of  Christ,  the  Apotheosis  of  James 
I,  Esther  before  Ahasuerus  —  it  is  all  a  frenzy  of 


200     Zbc  Hrt  ot  tbe  IDienna  ©alleries 

invention,  regulated  by  genius.  A  number  of 
copies  of  the  master's  works  may  also  be  advan- 
tageously studied.     These  hang  on  the  long  wall 

Jacob  Jordaens  came  near  to  Rubens,  both  in 
energy  of  presentation  and  richness  of  colour. 
The  apparent  distinction  between  their  work  lies 
in  the  impression  one  always  gets  that  Rubens' 
painting  bears  an  aristocratic  touch,  that  of  Jor- 
daens is  more  bourgeois.  There  are  two  fine 
examples.  The  "  Paul  and  Barnabas  in  Lystra " 
(No.  663)  pictures  the  moment  when  these  two 
missionaries  refuse  the  honours  which  the  priests 
of  Jupiter  and  the  populace  bring  to  them  in  the 
form  of  sacrificial  animals  and  wreaths.  The 
"  Portrait  of  a  Young  Woman,  holding  a  Medal- 
lion "  (No.  640)  is  one  of  his  best  single  figures. 
It  is  full  of  arch  vitality  and  rich  in  colour.  An 
interesting  incident  may  be  gathered  from  old 
records  which  state  that  this  same  painting  was 
sold  at  an  auction  in  1759,  when  it  brought  ten 
Dutch  guilders,  i.  e.  four  dollars ! 

Among  the  portraits  in  this  alcove  we  find,  be- 
sides uninteresting  work  by  Frans  Pourbus  and 
Mierevelt,  a  magnificent  painting  by  Jacob  Ger- 
ritsz.  Cuyp,  one  of  the  forerunners  of  Rembrandt. 
This  "Portrait  of  a  Lady"  (No.  617.  Plate 
XXX)  is  incisive  by  its  simplicity.  The  broad, 
thick,  pleated  ruff  and  the  close-fitting  velvet  cap 


JACOB 

GERRITSZ. 

CUYP 


PORTRAIT    OF    A    LADY 
Plate  XXX 


Imperial 

Academy 
of  Fine  Arts 


imperial  HcabeiuB  of  ifine  arts     201 

frame  a  face  which  has  regular  but  plain  features, 
still  is  wonderfully  expressive  in  its  quiet  and  peace- 
ful gaze. 

Some  paintings  here  bear  the  name  of  van  Dyck, 
but  little  credence  need  be  given  to  these  tablets. 
One  only,  an  oval,  showing  the  half -turned  head 
of  a  Youth  (No.  686),  is  regarded  as  authentic; 
by  some  critics  even  accepted  as  van  Dyck's  earliest 
self-portrait. 

In  the  next  alcove,  the  seventh,  we  find  a  number 
of  fine  examples  of  the  still-life  painters.  Jan 
Davidsz.  de  Heem  has  an  important  and  large 
canvas,  covered  with  opulent  fruit,  shining  glass 
and  brimming  tankards,  watched  over  by  a  gaudily 
feathered  parrot.  Jan  Fyt  has  painted  monkeys 
and  cats,  and  Abraham  van  Beyeren  his  speciality, 
fish.  The  greatest  of  the  flower  painters  were 
Rachel  Ruysch  and  Jan  van  Huysum  —  both  are 
well  represented.  Birds  are  painted  by  Jan  Weenix 
and  by  Melchior  d'Hondecoeter.  Pieter  Claesz. 
van  Haarlem  and  Willem  van  Aelst  remain  yet 
to  be  mentioned  for  meritorious  still-lives,  although 
many  more  examples  of  less  account  are  found 
here. 

THE  FRENCH  PAINTINGS 

are  put  away  in  the  dark,  in  alcove  eight;  and 
not  much  is  lost,  for  they  are  of  minor  importance. 


202     xtbe  Srt  of  tbe  iDienna  ©allertes 

A'  "  Sheepflock  on  the  Campagna "  (No.  847) 
is  probably  an  original  painting  by  Claude  Lorrain, 
but  even  so  not  a  representative  example.  An- 
other picture,  a  "Road  through  the  Woods"  (No. 
846)  is  better.  There  are  four  spirited  pieces  of 
cavalry  engagements,  by  Jacques  Courtois,  called 
Bourguignon.  The  "  Landscape  with  Waterfall  " 
(No.  849),  by  Claude  Joseph  Vernet,  is  interest- 
ing because  plainly  showing  outdoors  feeling.  This 
artist  may  be  considered  a  pioneer  among  the 
French  in  painting  from  nature.  This  little  piece 
is  far  more  sincere  than  the  series  of  French  sea- 
ports, now  in  the  Louvre,  which  Vernet  painted 
on  government  commission,  which  are  scenic  and 
theatrical.  Of  his  contemporary  Greuze  we  find 
here  some  of  his  well-known,  sentimental  girl-faces 
' —  sweet,  but  insipid. 

THE    LATER    GERMAN    PAINTINGS 

The  remaining  alcoves  in  Gallery  V,  from  the 
tenth,  as  well  as  Room  VI,  contain  German  paint- 
ings of  the  18th  and  19th  centuries,  principally 
by  Viennese  artists.  Most  of  these  are  in  the  con- 
ventional and  academic  style  which  dominated  the 
German  school  during  these  centuries.  Only  as 
far  as  the  stories  they  tell  differ  one  from  the  other 
do  they  present  any  variety  to  relieve  the  tedious- 
ness  of  their  claims.     Their  assignment  to  impor- 


irmperfal  Hca&ems  of  jfine  Htta      203 

tant  rank  will  depend  much  on  individual  taste,  for 
criticism  is  at  a  loss  to  choose.  I  can,  therefore, 
only  make  a  personal  appeal  to  regard  a  few  of 
these  works. 

The  keynote  of  the  tendency  to  which  German 
art  had  succumbed  in  the  18th  century  is  well  shown 
in  a  large  "  Italian  Mountain-landscape  ''  (No.  330. 
10th  alcove),  by  Josef  Roos.  It  is  clean  painting,! 
but  too  slick  to  look  spontaneous.  Little  of  nature 
presents  itself  —  much  of  an  effort  to  have  art 
improve  on  nature  by  making  her  look  nice  and 
tuckered  up   for  show. 

This  refers  also  to  the  well-ordered  and  neatly 
executed  mythological  subjects  of  Johann  Martin  ] 
Schmidt,  a  "Judgment  of  Midas''  (No.  160)  and 
"Venus  and  Vulcan"  (No.  161,  both  in  alcove 
11).  Of  some  interest  is  the  "Portrait  of  Count 
Anton  Lamberg''  (No.  294),  the  gift  of  whose 
collection  laid  the  foundation  of  this  Gallery.  It 
is  by  one  of  the  early  members  of  the  Academy, 
Martin  Ferdinand  Quadal,  whose  admission  picture 
for  membership  is  also  found  here.  This  gives  a 
view  of  one  of  the  working-galleries  of  the 
Academy  in  1787,  with  many  miniature  copies  of 
paintings  then  on  the  walls.  Another  early  mem- 
ber was  Josef  Abel,  who  was  admitted  in  1815, 
and  whose  admission  picture  presented  "  Daedalus 
and  Icarus'*  (No.  130)  in  truly  classic  spirit 


204     XCbe  Hrt  of  tbe  IDienna  ©alleties 

The  thirteenth  alcove  is  principally  given  over 
to  the  v^ork  of  Friedrich  Heinrich  Fiiger,  a  painter 
of  much  influence  in  his  time.  He  dominated  the 
Viennese  school,  which  until  the  days  of  Cornelius 
was  counted  the  best  in  Germany.  Fiiger  was 
called  the  German  Raphael  —  which  explains  to  us 
the  style  in  which  he  endeavoured  to  paint ;  but  the 
examples  of  his  work  here  do  not  convince  us 
of  the  justice  of  the  appellation.  His  admission 
picture  to  the  Academy,  "  The  Death  of  German- 
icus  "  (No.  170)  is  much  more  like  a  David. 

George  Ferdinand  Waldmiiller,  an  artist  who 
worked  in  the  same  style,  has  here  several  examples, 
of  which  the  ^'St.  Nicholas  Eve"  (No.  1092)  is 
a  weak  German  version  of  the  far  more  spirited 
presentations  which  Jan  Steen  has  given  of  this 
delightful  and  amusing  subject. 

Far  stronger,  and  withal  more  refined,  was  the 
work  of  Moriz  von  Schwind,  a  South  German  of 
noble  birth,  who  abhorred  the  popular  peasant 
painting  of  his  time,  and  devoted  his  art  to  de- 
picting the  higher  circles  of  society.  A  "  Social 
Gathering''  (No.  1182),  nevertheless,  shows  that 
he  followed  the  punctilious  technique  of  his  pe- 
riod. 

The  "Madonna  and  Child''  (No.  1178),  by 
Johann  Schraudolph,  can  scarcely  be  distinguished 
from  a  late  Venetian  work  of  minor  quality;  and 


IFmperial  aca&ems  of  iFine  Hrts     205 

the  "Ideal  Landscape"  (No.  1159),  by  Karl 
Marko,  an  Hungarian,  harks  back  to  Elsheimer. 
Josef  Brandt,  a  PoHsh  painter,  depicts  a  scene 
from  the  campaign  of  the  AlHes  against  Sweden  in 
1658  (No.  976),  which  is  palpably  an  historical 
document  rather  than  a  work  of  art.  Johann 
Friedric  Voltz,  in  two  or  three  cattle  pieces,  shows 
his  faithful  study  of  Troy  on' s  work  when  in  the 
forties  he  visited  Belgium  and  France.  Friedrich 
Gauermann,  popular  in  Vienna  in  the  middle  of 
the  century,  would  not  gain  many  laurels  to-day 
for  his  conventional  landscapes. 

Ludwig  Knaus  was  undoubtedly  for  many  years 
the  most  popular  painter  of  Germany.  His 
pictures  of  the  every-day  people,  generally  touched 
with  sentiment,  made  him  not  only  honoured  but 
beloved.  It  cannot  be  denied  that  even  French 
art  was  influenced  in  a  measure  by  his  anecdotal 
painting.  There  was  scarcely  an  art  institution  in 
Europe  of  which  he  was  not  an  honorary  member. 
In  many,  for  instance,  the  Royal  Academy,  he  was 
the  only  German  member.  And  these  honours 
were  bestowed  deservedly,  for  Knaus  was  a  man 
who  appealed  to  the  heart  of  the  people,  as  Gustav 
Freytag  did  in  literature.  He  was  a  fine  observer, 
a  friend  of  the  human  side  of  social  life,  who 
always  ennobled  even  common  things  in  his  paint- 
ings.    This  we  note  in  the  example  of  his  work 


2o6     Ubc  Hrt  ot  tbe  Dienna  (Ballertes 

here,  a  "Jewish  Peddler"  (No.  1169) — charac- 
teristic even  if  the  individual  is  seen  at  his  best. 

Franz  Defregger,  better  known  for  his  Tyrolean 
scenes,  has  a  bust  portrait  of  a  man  (No.  1163), 
of  excellent  quality.  Gabriel  Max,  so  well-known 
for  his  compositions  of  religious  meaning,  is  more 
realistic  when  painting  animals,  of  which  he  is 
very  fond.  A  "Monkey"  (No.  1199)  is  proof 
of  his  great  talent  as  an  animal  painter. 

Among  the  latest  painters  whose  works  are  in 
Room  VI,  we  will  notice  Emil  Jacob  Schindler,  a 
Viennese  artist  who  was  strongly  influenced  by 
the  modern  French,  and  little  honoured  during  his 
lifetime.  In  his  day  the  old-fashioned  style  of 
landscape  painting  still  held  control  in  Vienna. 
Thus  Schindler's  work  was  never  esteemed,  al- 
though now  his  landscapes,  which  we  find  here 
among  all  these  conventional  daubings,  axe  dis- 
tinctly refreshing,  notably  so  his  "  Mill  near 
Goisern"   (No.   1204). 

This  same  breath  of  fresh  air  strikes  us  in 
'*  Spring  in  the  Penzinger  Au "  (No.  1123),  by 
Robert  Russ.  Franz  Skarbina  had  his  training  in 
Holland,  and  in  his  "Christ''  (not  numbered) 
shows  the  influence  of  Joseph  Israels.  Hans  Gude 
was  more  influenced  by  the  Barbizon  school,  al- 
though his  two  examples,  "The  Chiemsee ''  (No. 
962),  a  fine  large  canvas,  and  "Fishing  by  Night 


Ifmperial  Hca&ems  ot  if ine  Hrts      207 

in  Norway''    (No.   991),  have  each  local  colour 
and  individual  workmanship. 

Some  of  the  best  of  the  modern  paintings  be- 
longing to  the  Academy  have  been  placed  on 
exhibition  in  the  Lower  Belvedere,  which  we  will 
view  later. 


CHAPTER   VIII 

THE  COLLECTION  OF  THE  PRINCE  VON 
LIECHTENSTEIN 

When  we  ascend  the  broad  stairway  of  the  fine 
old  Liechtenstein  palace  in  Vienna,  leading  to  the 
salons  where  the  paintings  are  hung,  we  note  a 
number  of  large,  decorative  canvases  by  late  Italian 
artists  and  a  fine  Flemish  tapestry  which  decorate 
the  walls  of  the  entrance  halls. 

A  Madonna  seated  on  the  rocks,  between  St. 
Joseph  and  St.  Jerome,  with  angels  above  playing 
on  musical  instruments,  is  by  Giovenone  Vercelli. 
Sebastiano  Ricci,  a  history  and  portrait  painter 
of  the  beginning  of  the  18th  century,  was  employed 
by  the  then  King  of  Rome  to  decorate  the  sum- 
mer palace  at  Schonbrunn,  near  Vienna,  at  which 
time  he  also  made  a  mythological  composition  for 
the  Liechtenstein  palace,  then  being  built.  Another 
Italian  artist  of  that  time,  the  Bolognese  Antonio 
Franceschini,  also  has  a  mythological  scene. 

Of  greater  interest  is  a  landscape  by  Jacques 
d'Artois,  a  very  prolific  painter  of  Flanders,  and 

208 


SANDRO 
BOTTICELLI 


PORTRAIT   OF   A   YOUNG   MAN 
Plate  XXXI 


Liechtenstein 
Collection 


Ube  Xiecbtenstein  Collection        209 

a  friend  of  van  Dyck  and  of  the  younger  Teniers, 
who  sometimes  introduced  figures  into  his  land- 
scapes. This  picture  is  painted  with  great  free- 
dom and  has  fine  colouring.  The  trees  are  covered 
with  moss  and  climbing  plants,  a  conceit  much 
favoured  by  this  artist. 

The  arazzo,  referred  to,  is  one  of  the  series  of 
tapestries  made  after  the  designs  by  Rubens  to 
illustrate  the  story  of  the  Roman  Consul  Decius 
Mus.  It  shows  "  The  Consul's  Consecration  to 
Death."  Three  other  tapestries  of  this  cycle  — 
"  Decius  Mus  speaks  to  his  Soldiers,"  "  He  sends 
the  Lictors  Home,"  "  He  dies  in  Battle  as  Victor  " 
—  form  the  chief  wall-decoration  of  the  First 
Salon.  We  shall  see  the  designs  for  these  tapes- 
tries later  on. 

This  First  Salon  is  devoted  principally  to  plastic 
art.  Antiques,  terracottas  and  majolicas  are  dis- 
played in  rich  profusion.  We  note  among  these 
some  fine  examples  of  the  Delia  Robbias,  a  terra- 
cotta bust  by  Antonello  Rosselino,  profile  portraits 
in  marble  by  Mino  da  Fiesole,  and  bronze  statu- 
ettes by  Bertoldo  di  Giovanni. 

The  Second  Salon  is  hung  with  examples  of 
Italian  art  of  the  ISth  and  16th  centuries.  We 
are  at  once  attracted  to  a  full-face  bust  portrait 
of  a  Young  Man  (Plate  XXXI),  by  Sandro  Botti- 
celli.    It  is  a  characteristic  work  in  which  his  sense 


210      Ube  Brt  of  tbe  IPienna  ©alleries 

for  line  is  fully  demonstrated.  This  was  Sandro's 
strongest  passion,  to  translate  into  a  lineal  sym- 
phony whatever  he  saw,  sacrificing  everything;  for 
his  work  is  never  pretty,  scarcely  ever  charming, 
or  even  attractive,  rarely  correct  in  drawing,  and 
seldom  satisfactory  in  colour,  which  he  only  used 
to  accentuate  the  line. 

It  is  curious  to  learn  from  Vasari  that  Botticelli 
delighted  in  jesting,  and  was  a  confirmed  practical 
joker,  for  a  vein  of  deep  melancholy  runs  through 
his  works,  which  is  especially  noticeable  in  his 
Madonnas,  where  its  presence  is  in  harmony  with 
the  subject  before  him.  Thus  the  "  Madonna  and 
Child,"  which  hangs  here,  has  a  sad  touch  in  the 
woman's  downcast  eyes,  and  even  the  Child's  look 
presages  sorrow. 

Two  small  pictures,  depicting  the  story  of  Esther 
and  of  Mordecai  (on  the  left  wall),  thoroughly 
in  Botticelli's  spirit,  are  ascribed  by  Berenson  and 
Richter  to  an  unknown  artist  who  is  styled  by  these 
critics  Amico  di  Sandro.  These  pictures  indicate 
the  close  relationship  of  style,  but  also  some  dis- 
tinctive, individual  traits  which  differentiate  be- 
tween the  known  and  the  unknown  painter.  A 
tondo,  with  Mary,  the  Child,  angels,  and  John,  is 
by  the  pupil  and  assistant  of  Ghirlandajo,  Sebas- 
tiano  Mainardi. 

A  painting  hanging  on  the  rear-wall  attracts  now 


xrbe  Xiecbtenstein  Collection        211 

our  attention.  It  is  the  bust  portrait  of  a  young 
woman,  backed  by  the  verdure  of  a  heavy  pine- 
tree,  with  a  charming  landscape  in  the  distance. 
Only  five  known  pictures  in  the  world  are  assigned 
without  dissent  to  Leonardo  da  Vinci,  and  this 
portrait  is  one  of  the  paintings  attributed  to  him, 
around  which  a  controversy  of  authenticity  wages, 
as  around  the  Belle  Ferroniere,  the  Virgin  of  the 
Rocks,  the  Portrait  of  an  Unknown  Princess,  in 
the  Ambrosian  Library,  and  others.  Eminent  crit- 
ics —  Morelli,  Berenson,  Frimmel,  Liibke,  Brun, 
Miintz,  Frizzoni,  Armstrong,  Woltmann  and  Woer- 
mann,  Crowe  and  Cavalcaselle,  Bode,  Burckhardt 
—  are  arrayed  as  stout  partisans  on  one  side  or 
the  other  concerning  this  picture. 

As  to  the  painting  we  observe  that  the  general 
impression  favours  Leonardo's  own  hand.  We 
find  here  that  same  enigmatic,  almost  sphynxlike 
expression  of  countenance,  although  the  lips  are 
slightly  tighter-drawn  than  in  any  other  female 
head  that  is  authenticated.  This  gives  a  vaguely 
drooping  cast  over  the  features  which,  together 
with  a  somewhat  indefinite  gaze  of  the  eyes  with 
their  weary  eyelids,  suggests  that  the  thoughts 
behind  the  blond  ringlets  are  not  quite  happy. 
This  perplexing,  puzzling  indefiniteness,  that  hid- 
den, psychological  mystery,  is  a  strong  point  in 
favour  of  Leonardo's  hand,  for  almost  every  one 


212     Ube  art  of  tbe  Dienna  ©alleries 

of  his  female  heads  is  a  riddle.  It  possesses  also 
that  celebrated  sfumato  of  Leonardo  —  the  blend- 
ing of  colours  and  dissolving  of  outlines  in  a 
vapourous  light. 

A  number  of  Florentines  must  have  come  directly 
under  Leonardo's  influence,  for  all  Lombardy  was 
overshadowed  by  him.  Thus  the  potency  of  his 
spell  is  readily  perceived  in  the  "  Cross-bearing 
Christ,"  by  Andrea  Solario,  even  though  he  was 
by  training  as  much  a  Venetian  as  a  Leonardesque 
Milanese.  He  has  a  porcelain  finish,  and  on  occa- 
sion too  much  prettiness,  and  a  too  long  sustained 
smile;  still  he  is  neither  lifeless  nor  stereo- 
typed. 

We  can  never  separate  from  the  great  Milanese 
his  follower,  Andrea  del  Sarto,  who  as  a  youth 
assiduously  copied  Leonardo's  celebrated  cartoons 
which  hung  in  the  Pope's  Hall.  The  half-figure 
of  **  John  the  Baptist "  is  a  fine  picture  of  the 
young  St.  John,  clad  in  a  skin  robe,  whose  features 
distinctly  recall  the  beautiful  face  of  Lucrezia  del 
Fede;  and  we  may  well  believe  that  she  was  her 
husband's  model  here,  as  her  lineaments  are  in  so 
many  of  his  compositions.  This  painting  may  be 
compared  favourably  with  tfie  famous  St.  John  in 
the  Pitti  Palace. 

Andrea's  pupil,  and  afterwards  his  partner, 
Franciabigio,  has  a  sombre  male  portrait  of  little 


Zbc  Xiecbtenstein  Collection        213 

attractiveness.  His  "  Madonna  with  Jesus  and 
John "  is  of  more  interest.  His  special  idiosyn- 
cracy,  which  he  derived  from  Andrea,  is  the  over- 
loading of  his  figures  with  draperies,  so  that  their 
dramatic  action  is  hampered  and  tripped  up  by 
this  voluminous  swathing. 

The  eccentric  Pietro  di  Cosimo,  whose  works  are 
exceedingly  rare,  shows  in  a  small  panel,  with  a 
Madonna  resting  under  a  wilted  tree,  a  highly  orig- 
inal and  somewhat  humourously  fantastic  treat- 
ment, with  fine  drawing,  and  brilliant  and  trans- 
parent colouring. 

The  Florentine  school  produced  an  excellent  por- 
trait painter  also  in  Angiolo  Allori,  called  il  Bron- 
zino,  by  whom  we  find,  on  the  wall  to  the  right, 
a  portrait  of  a  young  nobleman  with  a  deer.  Bron- 
zino's  religious  compositions  were  not  so  good,  and 
decidedly  mannered. 

The  Roman  school  is  ushered  in  by  an  old  re- 
plica of  Raphael's  "  St.  John,"  of  the  Tribuna  in 
Florence.  Raphael's  favourite  pupil,  Polidoro  Cal- 
dara  da  Caravaggio,  who  was  intrusted  with  paint- 
ing the  friezes  in  the  chambers  in  the  Vatican 
which  Raphael  himself  was  decorating,  is  seen  here 
in  two  fine  compositions.  They  represent  allegories 
of  music,  with  Apollo  and  the  Muses.  These  are 
noteworthy  for  elegance  of  drawing  and  fine  col- 
ouring.    Also  the  Bolognese  Girolamo  Marchesi  di 


214     Ubc  art  ot  tbe  Dienna  Galleries 

Cotignola  bears  the  Raphael  signet,  as  seen  in  a 
tondo  of  the  Holy  Family. 

Almost  archaic  in  his  precise  hardness  was  the 
early  Ferrarese  Cosimo  Tura,  the  man  from  whom 
were  to  descend  both  Raphael  and  Correggio.  Yet 
nothing  could  be  more  opposed  to  Raphael's  noble 
grace,  or  the  ecstatic  sensuousness  of  Correggio 
than  the  style  of  their  forerunner.  His  figures  are 
of  flint,  as  haughty  and  immobile  as  Pharaos,  or 
as  convulsed  with  suppressed  energy  as  the  gnarled 
knots  in  the  olive-tree.  Their  faces  are  seldom  lit 
up  with  tenderness,  and  their  smiles  are  apt  to  turn 
into  grimaces,  their  hands  are  claw-like.  Still  we 
find  a  sculpturesque  solidity  in  the  half-length  of 
St.  Clara,  in  the  habit  of  a  Franciscan  nun. 

Marco  Zoppo,  who  followed  his  steps,  was  the 
last  of  the  old  Bolognese  painters.  His  style,  how- 
ever, is  considerably  toned  down  from  Tura's  gro- 
tesques, as  is  to  be  noted  in  his  *'  Ecce  Homo," 
a  little  panel  allied  to  Primitif  tradition.  Zoppo's 
works  are  very  rare. 

Benvenuto  Tisi  de  Garafalo  was  far  more  pro- 
lific. He  was  a  characteristic  Ferrarese,  especially 
in  colour  and  in  general  delicacy  of  execution.  A 
"  St.  Christopher,''  in  a  beautiful  landscape,  is  a 
representative  example. 

To  Piero  della  Francesca,  the  master  of  Pietro 
Perugino  and  Lucca  Signorelli,  may  be  ascribed  two 


XTbe  Xiecbtenstein  Collection        215 

single  figures  on  gold  background,  which  must  have 
been  wings  of  an  altarpiece.  They  represent  saints 
in  the  usual  habits  of  a  monk  and  a  nun.  The 
technical  excellences  of  good  drawing,  solid  model- 
ling, and  the  broad  massing  of  the  shadows  are 
characteristic  of  Piero's  painting.  Marco  Palmez- 
zano,  a  pupil  of  Melozzo  da  Forli,  painted  ''  Sts. 
Jerome  and  Francis,"  with  all  the  ruggedness  of 
his  style,  even  to  the  dry,  rocky  landscape  back- 
ground. 

Francesco  Francia  may  be  called  the  founder  of 
the  renascent  Bolognese  school,  for  he  endeavoured 
to  reconcile  the  pious  traditions  of  the  middle-ages 
with  the  advance  that  had  been  made  in  the  domain 
of  the  purely  picturesque.  His  style  is  midway 
between  the  perfect  simplicity  and  fervour  which 
permeate  the  works  of  Giotto's  followers  and  that 
pagan  elegance  which  later  became  the  principal 
means  of  expression.  He  combined  the  technical 
perfection  of  a  later  age  with  the  Christian  motives 
which  had  so  largely  influenced  the  first  efforts  of 
Italian  art. 

An  excellent  example  of  his  portrait  work  is 
found  here  in  the  bust  portrait  of  a  clean-shaven 
man,  with  a  red  cap.  A  picturesque  landscape  with 
valley,  stream  and  buildings  is  seen  through  the 
window  behind  him.  The  portrait  is  admirable, 
even  impressive  in  its  simplicity  and  directness,  the 


2i6     XEbe  Hrt  ot  tbe  IDfenna  (Balleries 

closeness  of  the  modelling,  and  its  excellent  col- 
ouring. 

The  Venetian  school  commenced  its  colourful 
course  with  the  introduction  of  oil  painting  into 
Italy;  and  that  member  of  the  south  Italian  family 
of  artists,  the  Antoni,  who  was  called  Antonello 
da  Messina,  gave  the  impetus  by  introducing  the 
new  process.  The  strong  influence  of  van  Eyck, 
with  whom  he  studied,  is  easily  detected  in  An- 
tonello's  finely  pencilled  miniature  likeness  of  a  man 
and  his  wife.  It  is  brightly  coloured  and  delicately 
drawn. 

A  pupil  of  Giovanni  Bellini,  Giovanni  Mansuetti, 
painted  a  scene  depicting  the  attack  of  the  heathen 
at  Alexandria  upon  St.  Marc.  The  details  of  cos- 
tume, and  the  sensuous,  pictorial  effects  for  which 
the  school  became  famous  are  prominent  here;  but 
the  colours  are  somewhat  too  loud  and  variegated 
to  give  unalloyed  pleasure. 

A  much  weaker  follower  of  Bellini  was  Antonio 
Tisoio,  whose  '*  Madonna  with  Saints  "  shows  an 
unsuccessful  effort  to  imitate  the  master. 

An  early  work  by  Titian,  of  the  time  of  the 
Gypsy  Madonna,  which  we  saw  in  the  Imperial 
Museum,  is  a  presentation  of  the  Madonna  and 
Child,  with  John  the  Baptist  and  St.  Catharine 
holding  the  martyr's  palm.  The  composition  is  not 
cohesive,  since  the  picture  is  divided  in  half  by  a 


Ubc  Xiecbtenstetn  Collection       217 

straight  hanging  curtain  before  which  the  Madonna 
is  seated  holding  the  Child,  while  John  and  the 
charmingly  painted  Catharine,  seen  in  profile,  have 
the  sky  for  background.  The  picture  glows  with 
colour,  and  the  Madonna  group  is  one  of  the  finest 
and  most  naturalistic  of  Titian's  brush. 

Paris  Bordone,  influenced  by  Giorgione,  is  repre- 
sented by  an  excellent  portrait  of  a  full-bearded 
man,  dressed  in  a  black  gown  bordered  with  fur. 
The  flesh  colour  is  rosy,  and  Bordone's  peculiar 
small  and  broken  folds  of  the  dress  are  character- 
istic. 

The  provincialism  of  Bernardino  Licinio,  called 
il  Pordenone,  is  seen  in  the  portrait  of  a  man  in 
bright,  but  somewhat  flat  colours.  This  Friuli 
painter  had  great  talent,  which  was  developed  by 
his  later  residence  in  Venice;  but  he  never  attained 
to  significant  force,  and  always  showed  the  want 
of  taste,  which  is  the  indelible  stamp  of  provin- 
cialism. 

Another  provincial  who  sought  salvation  in 
Venice  was  Alessandro  Bonvicino,  called  Moretto, 
of  Brescia.  Two  paintings  here  indicate  his  style. 
The  better  of  the  two  is  the  St.  Jerome  doing 
penance  in  the  desert,  here  shown  by  a  highly  ideal- 
istic landscape,  full  of  poetic  conception.  The  other 
picture  presents  the  Madonna,  offering  the  Child 
to  be  worshipped  by  the  aged  St.  Jerome.     Both 


2i8     Zbc  Hrt  ot  tbe  IDienna  ©ailetles 

paintings  have  a  soft,  silvery,  shimmering  tone,  as 
of  a  twiHght  grey,  simpHcity  of  expression  and 
largeness  of  design. 

Moretto's  pupil,  Giambattista  Moroni  of  Ber- 
gamo, must  be  judged  as  a  portrait  painter  pure 
and  simple,  and  as  such  must  be  ranked  among  the 
highest.  His  bust  portrait  of  an  ecclesiastic  is 
of  a  man  interestingly  himself. 

Giovanni  Girolamo  Savoldo,  called  Bresciano,  is 
here  better  represented  than  in  the  Imperial  Mu- 
seum. He  kept  Giorgione  and  Titian  for  his 
models,  both  in  colour  and  chiaroscuro.  A  "  St. 
George ''  is  the  figure  of  a  young  man,  seated, 
leaning  against  a  wall.  The  light-reflections  from 
his  steel  harness  play  harmoniously  with  the  colour 
scheme  of  his  reddish  jacket  and  olive  green  mantle. 
A  beautiful  landscape  in  evening  glow  stretches  in 
the  distance. 

Above  the  door  hangs  a  sacred  composition  by 
Savoldo.  Against  a  background  of  heavy,  woolly 
clouds  we  see  the  figure  of  the  God- father,  holding 
the  body  of  the  Son  over  the  grave.  It  is  an 
impressive  scene  full  of  grandeur  and  pathos. 

Two  later  men,  really  belonging  in  the  next  Salon, 
are  Joseph  Ribera  and  Guercino  da  Cento.  Joseph 
Ribera,  called  lo  Spagnoletto  (the  little  Spaniard), 
had  come  from  Valencia  to  Naples,  and  studied  the 
works  of  Raphael  and  Annibale  Carracci,  and  those 


Ube  Xiecbtenstein  Collection        219 

of  Correggio  at  Parma.  When  he  returned  to 
Naples  he  became  greatly  impressed  with  the  exag- 
gerated style  of  Caravaggio.  A  "  St.  Jerome " 
indicates  this  later  influence. 

A  large  painting  by  Guercino  hangs  at  the  win- 
dow wall  in  a  very  bad  light.  It  represents  '*  The 
Offering  of  Isaac,"  and  is  in  the  manner  of  the 
Carracci,  rich  in  colour  with  strong  shadows,  which 
style  places  the  work  in  his  first  period,  for  later 
he  partook  more  of  Guido  Reni's  silvery  manner. 
The  picture  ha*r  the  characteristic,  by  which  Guer- 
cino may  be  readily  recognised,  of  the  figures  being 
lighted  from  the  top. 

The  Third  Salon  contains  the  later  Italians. 
Domenico  Tintoretto  is  signed  to  the  portrait  of 
a  man  of  thirty- four,  with  his  son.  Some  hold 
this  to  be  a  self-portrait  of  the  artist.  It  merely 
recalls  the  facture  of  the  greater  Tintoretto,  Jacopo. 

Labelled  as  by  Correggio,  but  already  by  Waagen 
ascribed  to  Giulio  Cesare  Procaccini,  is  an  ex- 
cellent painting  of  Venus,  guarding  the  sleeping 
Cupid,  and  attended  by  two  putti.  There  is  an 
attempt  here  to  combine  the  vigour  of  Tintoretto 
with  the  grace  of  Correggio. 

One  of  the  most  widely  known  productions  of 
Michelangelo  da  Caravaggio,  the  ''  Zither  Player," 
is  found  here.  Its  greatest  claim  for  attention  is 
its   uniqueness   among  the   works   of  Caravaggio. 


220     TLbc  Hrt  ot  tbe  IDfenna  (Ballerfes 

There  is  charm  and  grace  and  harmonious  colour 
in  this  yellow-gowned  girl,  seated  on  a  red  pillowed 
settee,  before  a  table  on  which  her  violin  and  music 
sheets  are  scattered.  It  must  be  an  early  work 
for  it  is  painted  still  with  Raphaelesque  idealism 
by  a  man  who  was  the  first  to  upset  the  traditions 
of  grace  by  an  almost  brutal  assault  of  naturalism. 
He  preached  a  return  to  nature,  but  chose  in  his 
later  years,  with  evident  gusto,  violent  episodes  of 
life,  murders,  quarrels,  tavern  scenes,  adventures  of 
gypsies  and  vagabonds,  types  of  the  street  and  of 
the  prison.  The  artificial  light  seen  in  his  later 
pictures  is  the  result  of  his  habit  of  painting  in 
a  dark  studio,  lighted  by  a  trap-door  in  the  roof, 
by  which  he  obtained  striking  effects  of  colour  and 
relief. 

A  few  further  works  by  Guercino  lead  us  to  a 
fellow- follower  of  the  school  of  the  Carracci, 
Domenichino.  His  half-figure  of  a  woman  is  in 
the  academic-eclectic  style  of  the  Bolognese  school, 
then  prevalent.  There  are  also  several  works  by 
the  prolific  decorator-artist  Guido  Reni.  Of  Sasso- 
ferrato,  the  best  painter  of  the  17th  century  Roman 
school,  we  find  a  "  Mater  Dolorosa."  Its  palpable 
imitation  of  Raphael's  Florentine  manner,  over- 
sweetened  to  insipidity,  points  the  direction  in 
which  even  the  best  was  tending. 

When  Italian  art  had  deeply  fallen  into  deca- 


Ube  Xiecbtenstein  Collection        221 

dence,  the  golden  age  of  art  burst  forth  in  the 
north.  Its  brilHancy  makes  the  Fourth  Salon  sig- 
nificant after  the  mannerism  of  the  late  Italians. 

The  famous  Decius  Mus  cycle,  by  Rubens,  is 
found  here.  In  1617  some  Genoese  merchants 
ordered  from  the  great  Flemish  master  designs  for 
six  scenes  from  the  life  of  the  Roman  Consul,  to 
be  woven  on  the  Brussels  looms.  In  these  scenes 
Rubens  followed  the  story  of  the  war  with  the 
Samnites  as  told  by  Livius. 

The  Consul  Decius  Mus  tells  his  centurions  of 
a  dream  which  announced  to  him  that  the  army 
whose  leader  should  fall  in  battle  would  be  vic- 
torious. The  priests  discover  in  their  divinations 
of  the  entrails  of  sacrificial  animals  that  Decius 
should  be  the  victim.  With  his  toga  covering  his 
head  the  Consul  consecrates  himself  to  his  fate. 
Before  the  battle  he  sends  the  Lictors  home,  and 
they  depart  with  many  lamentations.  The  Consul 
turns  his  wavering  columns  from  apparent  defeat 
to  victory,  but  himself  sinks,  pierced  by  a  lance, 
from  his  rearing  horse.  After  a  long  search 
among  the  heaps  of  slain  his  body  is  at  last  found, 
and  receives  mortuary  honours  on  the  battlefield. 
The  last  scene  shows  the  Second  Consul  as  he  holds 
the  funeral  oration,  and  points  to  the  hero's  re- 
mains on  the  purple-covered  bier. 

The   whole   series   is   a   superb   example   of  the 


222     Ube  Hrt  of  tbe  IDienna  (Balleries 

master's  marvellous  talent  to  depict  imposing 
groups,  rich  garments,  noble  personages,  brilliant 
lights,  and  iridescent  colours  in  regal  magnificence. 
Although  these  designs  were  admittedly  executed 
by  the  master's  pupils  —  notably  did  van  Dyck 
work  on  several  —  the  entire  conception  and  com- 
position are  the  master's  own  invention. 

Several  large  mythological  scenes  by  Frances- 
chini,  and  a  copy  of  van  Dyck's  "  Venus  and 
Vulcan,"  of  the  Imperial  Museum,  complete  the 
wall  decoration  of  this  magnificent  apartment. 

The  Fifth  Salon  is  almost  exclusively  devoted 
to  works  by  Anton  van  Dyck,  with  one  notable 
exception  —  a  work  by  one  far  greater  than  he. 

Van  Dyck  is  represented  here  in  every  manner 
of  his  productive  power,  as  fully  as  we  saw  it  in 
the  Imperial  Museum.  Foremost  stands  that  mag- 
nificent "  Portrait  of  Maria  Luisa  van  Tassis " 
(Plate  XXXII),  one  of  the  finest  female  portraits 
we  have  by  van  Dyck.  It  was  manifestly  painted 
in  his  Antwerp  period,  after  1625,  when  he  re- 
turned from  his  four  years'  stay  in  Italy,  and  before 
he  left  for  England  in  1632.  This  was  decidedly 
the  best  period  in  the  artist's  career,  when  he  had 
reaped  the  full  fruits  of  his  study  of  the  Italian 
masters,  and  before  his  excessive  facility  and  his 
desire  to  please  the  Court  at  Whitehall  made  him 
lose  the  little  sincerity  he  ever  possessed. 


PORTRAIT   OF   MARIA   LUISA   VAN   TASSIS 
VAN  Liechtenstein 

DYCK  Plate  xxxii  Collection 


Ube  Xiecbtenstein  Collection        223 

Maria  Luisa  van  Tassis,  the  daughter  of  a  patri- 
cian Antwerp  family,  is  here  clothed  in  a  magni- 
ficent costume  of  black  velvet,  filmy  cambric,  and 
precious  point-lace,  and  carries  a  huge  fan  of 
ostrich  feathers.  A  heavy  string  of  bright  pearls 
circles  her  throat  and  hangs  over  her  bosom.  All 
this,  and  perhaps  with  still  greater  art  of  delicate 
skill,  we  see  in  the  later  portraits  of  his  English 
period.  But  what  is  lacking  there  we  find  here 
—  more  character  in  pose  and  features.  Scarcely 
ever  do  we  see  in  van  Dyck's  portraits  such  an 
animated,  roguish  look  in  the  eyes  and  playing 
around  the  mouth.  The  golden  tone  points  also 
to  this  middle  period. 

Another  portrait  has  become  famous  as  of 
Wallenstein  when  thirty-two  years  old.  He  is 
dressed  in  a  dark  velvet  costume,  with  a  collaret 
of  delicate  lace  setting  off  the  strong  features.  The 
wrist  of  the  hand  rests  upon  the  hilt  of  a  rapier. 
These  hands,  like  the  one  visible  in  the  Tassis 
portrait,  are  as  delicate  and  beautifully  modelled 
as  in  the  portraits  of  his  English  period.  The  old 
explanation  of  the  care  van  Dyck  gave  to  these 
hands,  because  they  paid  the  price,  may  have  been 
only  a  rival's  quip. 

The  portraits  of  a  man,  and  of  his  wife,  have 
the  aristocratic  touch  of  his  later  years;  while  the 
portraits   of  an   elderly  couple   are   of  his  earlier 


224     Ube  Hrt  of  tbe  IDfenna  ©allerics 

Rubens  period.  A  young  couple,  elaborately 
dressed,  before  a  red  drapery,  are  again  of  the 
middle  period,  as  is  the  knee-piece  of  a  lady.  Of 
the  same  years  came  a  fine  portrait  of  a  cleric, 
attached  to  the  Tassis  family;  and  also  an  old 
man,  seated  in  an  arm-chair. 

Van  Dyck's  "  St.  Jerome,"  found  here,  has 
variants  in  Dresden,  Stockholm,  and  Madrid.  It 
is  not  a  pleasing  composition,  although  the  mas- 
ter's touch  is  manifest.  A  "Madonna"  is  an  old 
copy  after  an  original  by  van  Dyck,  now  in  Dul- 
wich  House,  in  England.  Another  copy,  hanging 
near,  is  one  of  those  which  Rubens  made  while  in 
Italy.  It  is  after  the  "  Burial  of  Christ,"  by  Car- 
avaggio,  which  is  now  in  the  Vatican.  A  large 
*'  Lamentation  of  Christ,"  bearing  van  Dyck's 
name,  is  not  by  his  own  hand,  but  manifestly  a 
studio  work  by  his  pupils. 

But  the  painting  which  imperiously  arrests  the 
attention  of  the  spectator,  and  which  proves  the 
greater  master,  is  the  magnificent  full-length  "  Por- 
trait of  Willem  van  Huythuysen,"  patrician  of 
Haarlem,  by  Frans  Hals  (Plate  XXXIII).  This 
proud  and  lifelike  figure  stands  before  us  in  an 
embroidered  black  silk  costume.  His  broad- 
brimmed  hat  sets  well  back  from  the  forehead, 
leaving  the  strong  features  clear  and  unshaded. 
His  left  hand   rests   on  his   hip,   his   right,   over 


PORTRAIT    OF    WILLEM   VAN  HUYTHUYSEN 
Plate  XXXIII 


Liechtenstein 
Collection 


Ube  Xiecbtenstein  Collection        225 

which  his  cloak  is  thrown,  rests  on  a  long  sword. 
The  background  is  a  rich  red  curtain,  and  in  the 
distance  we  have  a  glimpse  of  the  park  adjoining 
the  noble  mansion.  Roses  lie  scattered  on  the 
floor.  The  face  expresses  manly  vigour  and  digni- 
fied self -consciousness.  The  whole  effect  of  this 
wonderful  composition  with  its  rich  but  delicate 
colouring,  light-grey  in  tone,  is  thoroughly  artistic. 
There  are  so  many  fine  points  about  this  portrait 
that  it  is  hard  to  leave  it.  Its  tremendous  spirit 
of  vivacity,  its  ease,  dash,  fluency,  bravura,  its 
wonderful  freedom  and  looseness  of  touch,  make 
it  one  of  the  artist's  greatest  masterpieces.  There 
is  no  portrait  painter  who  has  surpassed  Frans 
Hals,  and  only  one  who  has  equalled  him  —  Velas- 
quez; these  two,  so  different  in  technique,  so  alike 
in  masterful  dominion  over  the  brush. 

The  Sixth  Salon  contains  a  number  of  important 
canvases,  from  among  which  we  will  first  mark 
several  fine  examples  of  Rubens.  "  The  Sons  of 
Rubens "  is  a  famous  double  portrait.  The  ar- 
rangement is  natural  and  charmingly  easy.  Albert, 
the  elder  boy,  stands  with  his  arm  resting  around 
the  shoulders  of  Nicholas,  who  is  interested  in  play- 
ing with  a  captive  goldfinch.  The  bright  costume 
of  the  younger  boy  —  grey  breeches,  a  blue  slashed 
jacket  with  yellow  satin  puffs  and  ribbons  —  comes 
out  harmoniously  against  the  black  costume,  slashed 


226     Ube  art  ot  tbe  IDtenna  (Galleries 

with  white  satin,  worn  by  Albert.  It  is  a  group 
painted  with  animation  and  love,  entirely  by  the 
master's  own  hand.  A  replica  or  studio  copy  of 
this  group,  with  some  changes  in  the  colours,  is 
found  in  the  Dresden  Museum. 

Of  next  importance  is  the  large  mythological 
composition  of  the  *'  Finding  of  the  Boy  Erech- 
tonyos  by  the  Daughter  of  Kekrops,''  which  may 
be  considered  a  paraphrase  on  the  biblical  story 
of  the  finding  of  Moses  by  Pharaoh's  daughter. 
It  is  a  magnificent  performance  in  nude  painting 
and  dramatic  composing,  with  that  long  serpentine 
sweep  and  those  graceful  curves  by  which  the 
master  is  known.  In  the  same  style  is  a  large 
sketch,  apparently  for  a  ceiling  painting,  of  the 
"  Entrance  of  Psyche  into  Olympus,"  and  her  be- 
trothal to  Cupid. 

A  souvenir  of  the  time  Rubens  spent  in  Italy 
is  shown  by  a  variation  on  Titian's  "  Toilet  of 
Venus,"  which  is  now  in  the  Hermitage.  There 
is  magnificent  morbidezza  in  the  nude  figure  seated 
with  her  back  to  the  spectator.  The  face  is  seen 
in  profile,  and  reflected  full- face  in  a  mirror  which 
a  cupid  holds  up  before  her.  The  head  of  a  negro 
serving  woman  serves  to  enhance  the  superb  colour 
contrasts. 

The  portrait  of  Jan  Vermoelen,  the  commander 
of  the  Spanish  fleet  in  the  Netherlands,  is  a  more 


Ubc  Xfecbtenstein  Collection        227 

sober  painting  than  we  are  accustomed  to  find  from 
this  master  with  the  exuberant  fancy.  It  is,  never- 
theless, a  piece  of  soHd  painting  of  great  breadth 
of  treatment,  with  dignity  of  pose,  and  nervous 
force.  A  sketchy  head  of  a  middle-aged  man  is 
thought  to  be  a  likeness  of  Rombouts,  a  friend  of 
Rubens,  and  a  painter  of  the  second  rank.  Of 
great  charm  is  a  little  child's  head,  such  as  appear 
so  frequently  as  cupids  in  his  large  compositions. 
It  is  manifestly  a  portrait,  probably  of  one  of  his 
own  children  in  infancy. 

The  story  of  two  sketches  for  allegorical  com- 
positions is  of  interest.  After  Rubens  had  com- 
pleted the  Marie  de  Medicis  cycle  which  now  adorns 
the  Louvre,  the  Queen  commissioned  Rubens  to 
paint  a  like  series  to  glorify  her  husband,  Henry  IV. 
Owing  to  political  changes  in  France  this  project 
never  came  to  fruition ;  but  two  designs  had  already 
been  made,  which  after  some  vicissitudes  found 
their  way  to  the  Liechtenstein  Gallery.  In  one  of 
these  paintings  we  see  Henry  IV,  surrounded  by 
Minerva  and  allegorical  figures;  the  other  one  pre- 
sents him  as  the  hero  of  the  siege  of  Courtray. 
If  completed,  the  cycle  would  undoubtedly  have 
rivalled  the  one  in  the  Louvre,  judging  by  the 
fecundity  of  imagination  and  wealth  of  colour  of 
these  two  sketches. 

One  of  the  best  paintings  of  the  later  years  of 


228     XCbe  art  of  tbe  Vienna  <5allerfe6 

Rubens  is  a  superb  ''Ascension  of  Mary.''  The 
composition  is  not  divided  to  indicate  the  separa- 
tion between  earthly  and  heavenly  theme,  as  we 
see  it  so  often  with  Titian  and  others,  but  is  car- 
ried gradually  upward  from  the  group  of  apostles 
and  women,  kneeling  and  standing  below,  through 
the  etherealised  figure  of  the  Virgin,  supported  and 
surrounded  by  lovely  putti,  on  to  the  lighter  glow 
of  nimbus  and  vanishing  angelwings.  Some  of 
the  figures  are  incontestably  among  the  best  that 
Rubens  has  ever  created.  The  figure  of  the  Virgin 
is  admirable  in  its  almost  dissolving  lightness  and 
purity;  the  characterisation  of  the  figures  below 
is  vivid,  expressing  anguish  at  parting,  marvelling 
and  amazement,  and  also  gratified  confidence  in  a 
glorification  which  was  anticipated.  The  colouring 
is  somewhat  more  restrained  and  refined  than  was 
his  wont  —  for  which  the  subject  may  well  be  held 
accountable. 

A  further  number  of  portraits  by  van  Dyck  are 
also  found  in  this  room.  The  most  pompous  is  a 
portrait  of  the  Count  Johan  van  Nassau,  but  the 
more  attractive  is  the  portrait  of  the  widow  of  the 
Stadholder,  the  Infanta  Isabella.  Of  the  many 
replicas  in  existence,  this  one  seems  to  be  the  best 
" —  as  it  is  surely  by  van  Dyck's  own  hand. 

A  number  of  works  by  pupils  and  followers  of 
Rubens  fill  in  the  spaces  between  the  masterpieces. 


)        O     »         >      f    c 


JACOB 
JORDAENS 


THE    GLUTTON 
Plate  XXXIV 


Liechtenstein 
Collection 


XEbe  Xfecbtenstefn  Collection       229 

Of  greatest  interest  among  these  is  an  example  of 
Jacob  Jordaens,  the  man  who  came  nearest  to 
Rubens  in  colour  and  technique,  but  with  a  tre- 
mendous difference  in  breeding  and  spirit.  Where 
Rubens  with  all  his  voluptuous  abandon  is  still  the 
aristocrat  at  heart,  Jordaens  always  shows  a  lower 
taste,  a  coarser  spirit.  The  work  before  us,  "  The 
Glutton"   (Plate  XXXIV),  is  most  characteristic. 

The  greatest  paintings  in  this  Salon  are  five 
portraits  by  Rembrandt.  The  superb  technique  of 
the  master  —  in  one  canvas  his  luminous  thinness, 
in  others  where  the  loaded  brush  is  used  with  extra- 
ordinary vigour  and  bravura  —  makes  these  pro- 
ductions stand  decisively  apart  from  the  common 
stream  of  art.  His  individuality  is  so  imperious, 
self-sufficing  and  all-transforming  that  even  the 
masterworks  of  other  men  must  suffer  momentary 
eclipse  before  this  artistic  Prometheus  who  stole 
the  celestial  fire. 

The  "  Self-portrait  with  the  Feather  Bonnet "  is 
one  of  the  famous  works  of  his  first  period,  painted 
in  1635.  The  frank  and  generous  execution,  the 
soft,  warm  light,  the  sober  colour,  the  transparent 
shadows,  are  all  in  exquisite  harmony.  Greater 
aggressiveness  of  personality  is  found  in  the  two 
bust  portraits  of  the  next  year.  The  one  presents 
a  youthful  man,  dressed  as  an  officer.  His  keen, 
piercing  eyes  look  with  startling  vividness  out  of 


230     Ube  Hrt  of  tbe  IDienna  ©alleries 

a  somewhat  pale  face  that  is  framed  with  a  wealth 
of  curling  black  hair.  The  other  picture  is  a  por- 
trait of  the  officer's  wife,  richly  dressed  in  brown, 
with  a  gold-embroidered  stomacher.  On  her  chest- 
nut hair  rests  a  little  circle  of  pearls  to  which  a 
long  blue  feather  is  attached.  Pearls  are  in  her 
ears  and  around  her  neck  and  wrist. 

*'  Few  of  Rembrandt's  works,"  writes  Dr.  Bode, 
"  even  those  painted  during  his  best  period,  repre- 
sent the  charm  of  woman  so  alluringly  as  this  por- 
trait of  a  lady,  whose  radiantly  fair  complexion 
shines  out  from  its  framework  of  luxuriant  hair, 
and  is  offset  by  a  rich  and  superbly  painted  cos- 
tume. Few  of  his  portraits  are  so  striking  in  their 
personality,  and  are  at  the  same  time  so  essen- 
tially feminine.  In  this  picture  Rembrandt  shows 
himself  the  peer  of  Rubens  as  a  painter  of  volup- 
tuous beauty." 

Another  early  work,  thinly  painted,  is  the  por- 
trait of  Rembrandt's  sister,  Lysbeth,  of  1632.  She 
is  a  blooming,  blonde  young  girl,  without  any 
startling  marks  of  female  beauty,  but  withal  attrac- 
tive by  her  spontaneous  ingenuity.  The  face  is 
entirely  in  the  light,  almost  without  shadows,  but 
lifelike  and  fresh  in  colour,  while  the  rest  of  the 
figure  is  in  half-shadow.  The  whole  portrait  is 
finished  with  extreme  care,  and  without  that  free- 
dom  in   the   treatment   which   is   seen   later;    the 


Ube  Xiecbtenstein  Collection        231 

handling  being  precise  and  without  that  quahty  of 
suggestiveness  which  distinguishes  so  much  of 
Rembrandt's  work.  The  same  model  must  have 
served  for  "The  Bride  Dressing,"  painted  in  1637. 
There  is  more  ''  kneading  of  the  paint "  here,  with- 
out destroying  the  purity  and  value  of  tones. 

A  portrait  of  the  master,  painted  in  1656,  that 
bears  the  stamp  of  stress  of  circumstances  and  sad- 
ness of  heart,  was  supposed  to  be  painted  by  him- 
self, but  on  Dr.  Bode's  suggestion  we  must  rather 
regard  it  as  a  work  of  Rembrandt's  last  pupil,  Aert 
van  Gelder.  A  ''  Diana  with  Endymion ''  is  also 
erroneously  marked  with  Rembrandt's  name.  It  is 
manifestly  the  work  of  Go  vert  Flinck,  one  of  Rem- 
brandt's pupils  whose  facile  imitation  of  the  master 
has  led  to  many  false  attributions. 

Among  several  other  portraits  by  painters  of  the 
second  rank  we  must  single  out  an  excellent  knee- 
piece  of  a  young  man  by  Thomas  de  Keyzer,  who 
holds  the  peculiar  position  of  first  having  aroused 
Rembrandt  to  the  possibilities  of  portraiture,  and 
who  afterwards  himself  adopted  several  of  the 
great  master's  characteristics.  His  warm  colouring 
and  truthful  characterisation  developed  gradually, 
his  colour  at  the  last  approaching  Rembrandt's.  A 
portrait  of  Gerard  Dou  is  by  Don's  talented  pupil 
God  fried  Schalcken,  best  known  for  his  composi- 
tions with  candle-  and  lamp-light. 


232     Ubc  art  ot  tbe  IDienna  Galleries 

In  the  Seventh  Salon  we  find  a  few  more  of 
the  Dutch  portrait  painters.  An  early  master  was 
Dirk  Barendszen,  who  had  profited  much  by  the 
study  of  Titian.  At  first  he  devoted  himself  to 
sacred  art,  but  he  attained  greater  renown  as  a 
portrait  painter,  being  considered  one  of  the  best 
of  his  time.  A  vivid  likeness  of  the  stern  features 
of  Holland's  great  Pensionary,  Johan  van  Olden- 
barnevelt,  is  found  here.  There  is  also  a  charming 
girl's  profile  by  Jan  Lievens  who,  although  a  pupil 
of  Rembrandt,  fell  soon  under  van  Dyck's  influence 
when  he  visited  England. 

The  first  great  portrait  painter  of  Holland  was 
Antonis  Mor,  who  formed  himself  in  his  native 
Utrecht  under  Jan  van  Scorel,  and  afterwards  vis- 
ited Italy  and  Spain.  Although  much  impressed 
with  Titian's  work  he  developed  an  individual  style 
in  portraiture.  While  in  his  early  work  there  is 
to  be  seen  the  dry,  angular  method  of  his  Utrecht 
teacher,  he  emancipated  himself  completely,  and  his 
later  portraits  excel  in  warm  colour  and  roundness 
of  form,  as  we  have  already  remarked  in  his  ex- 
ample in  the  Academy.  Here  we  find  it  equally 
noticeable  in  a  "  Portrait  of  a  Man,"  with  a  blond 
beard. 

But  the  majority  of  the  paintings  in  this  Salon 
are  again  of  the  Flemish  school.  Two  large  organ- 
wings  show  on  the  outside  grisaille  paintings  of 


Ube  Xfecbtenstein  CoUectton       233 

musical  angels,  with  single  figures  on  the  inside. 
These,  for  no  reason  whatever,  have  been  ascribed 
to  Hanneman,  but,  according  to  Bode,  must  be  con- 
sidered as  indubitable  early  works  of  Rubens, 
painted  immediately  after  his  first  return  from 
Italy. 

A  large  composition,  "  Ajax  and  Cassandra  in 
the  Temple,"  is  of  the  great  Fleming's  invention, 
but  executed  by  van  Dyck  and  other  pupils,  possibly 
with  some  finishing  touches  by  the  master  him- 
self. A  portrait  of  Caspar  de  Crayer,  the  painter, 
is  by  van  Dyck,  but  not  one  of  his  best  works. 
Portraits  of  a  man  and  of  a  woman  are  excellent 
examples  of  the  Fleming  Pourbus,  Frans  the  Elder; 
while  a  portrait  by  Erasmus  Quellinus  shows  the 
influence  of  his  master  Rubens  in  the  ruddy  tones. 
We  note  further  a  "  Raising  of  Lazarus,"  by 
Marten  de  Vos ;  a  "  Denial  by  Peter,"  by  Theodoor 
Rombouts,  who  graphically  portrays  the  soldiers' 
guardroom  where  the  serving-maid  lays  her  charge 
against  the  apostle;  and  works  by  Berchem,  Sand- 
rart,  Seybold,  and  Lebrun. 

By  a  circular  stairway  we  ascend  now  to  the 
upper  floor,  where  a  series  of  nine  rooms  contain 
the  larger  number  of  the  paintings  of  the  Liechten- 
stein collection,  but  generally  of  smaller  size.  Sev- 
eral masterpieces  will  greet  us.  There  is  no  orderly 
classification,  and  we  are  compelled  to  follow  the 


234     ^be  Hrt  of  tbe  IDienna  (Balleries 

walls  to  prevent  the  confused  wandering  that  would 
result  if  we  should  attempt  to  search  for  examples 
of  various  schools. 

The  First  Room  contains  several  beautiful  tapes- 
tries, as  well  as  a  number  of  paintings.  A  small, 
but  very  characteristic  Guercino  has  a  *'  St.  Jerome," 
struck  to  earth  by  the  sound  of  GabrieFs  trumpet. 
A  large  "  Burial  of  Christ ''  is  ascribed  to  Battista 
Farinato,  called  Zelotti,  who  worked  with  Paolo 
Veronese,  but  did  not  display  his  teacher's  grandeur 
of  conception.'  An  excellent  little  panel  of  the 
*'  Appearance  of  the  Angel  to  Abraham"  is  not, 
as  labelled,  by  Domenico  Tiepolo,  but  by  his  more 
renowned  father,  Giovanni  Battista,  the  last  great 
name  in  the  illustrious  roll  of  Venetian  painting. 
A  ''  Christ  on  the  Mount  of  Olives  "  is  by  a  weak 
follower  of  Tiepolo.  "  Apollo  and  the  Muses  "  is 
the  work  of  Frans  Francken,  the  Younger,  who 
was  a  member  of  a  large  Flemish  family  of  artists 
of  the  17th  century,  and  who  copied  the  great 
Venetian  painters  with  utmost  dexterity. 

The  Second  Room  contains  a  magnificent  col- 
lection of  Oriental  porcelains.  On  the  walls  we 
find  several  Venetian  canal  scenes,  by  Antonio 
Canale,  and  two  landscapes  by  Bernardo  Belotto, 
called  Canaletto,  painted  by  this  artist  while  on 
his  visit  to  Saxony.  They  are  views  of  Konig- 
stein  and   Pirna.     Some  Venetian  scenes  that  go 


CHARDIN 


THE    COOK 
Plate  XXXV 


Liechtenstein 
Collection 


TLbc  Xiecbtenstein  Collection       235 

here  under  Canaletto's  name  are  from  the  freer 
brush  of  Guardi. 

Surrounded  by  these  Venetians  is  an  interesting 
*'  Holy  Family  on  the  FHght  to  Egypt/'  by  Nicolas 
Poussin,  the  one  French  old  master  who  was  per- 
vaded by  the  classic  spirit.  Despite  his  early  train- 
ing under  transalpine  influences  he  was  the  first 
to  drop  Italian  leadingstrings,  and  his  work  com- 
menced to  present  very  thoroughly  French  qualities 
in  which  the  artistic  dominates  the  poetic,  and 
individual  style  quite  outshines  idealistic  suggestive- 
ness. 

The  Third  Room  is  filled  with  a  diversity  of 
works  of  various  schools.  That  painter  of  original 
force  and  flavour  who  appeared  in  the  midst  of 
the  mignardise  of  Louis  Quinze  painting  was  Jean 
Battiste  Chardin,  whose  cooks  and  chambermaids 
are  as  natural  as  those  a  Dutchman  would  have 
painted.  Four  examples  of  this  master,  who  vis- 
ualised the  philosophy  of  Diderot  and  his  doctrines 
of  humanity  by  becoming  the  graphic  historian  of 
the  petite  bourgeoisie,  are  found  as  we  enter  the 
room.  "The  Cook"  (Plate  XXXV),  as  well  as 
"  The  Breakfast,"  excel  in  that  aesthetic  quality 
which  is  combined  with  the  genuineness  and  the 
accent  of  the  artist's  preoccupation  with  his  subject. 

These  four  Chardins  surround  a  magnificent 
southern  landscape  by  the  17th  century  J.  F,  Millet. 


236     ^be  Htt  ot  tbe  IDienna  ©alletfes 

It  is  in  the  sumptuous  style  of  that  early  landscape 
school  founded  by  Poussin  and  Claude,  and  before 
it  had  succumbed  to  the  heaviness  of  the  later 
Roman  and  Naples  painters.  A  second  landscape 
with  ruins,  also  by  Millet,  has  more  of  the  dark 
accents  of  Salvator  Rosa. 

We  may  be  surprised  to  find  here  two  English 
portraits.  One  is  a  bust  portrait  of  a  young  man, 
by  Thomas  Gainsborough,  in  which  the  delicate 
lineaments  of  the  face  are  given  with  his  wonted 
artistic  finesse.  As  a  pendant  hangs  a  woman's 
portrait  by  the  American-born  John  Singleton 
Copley,  who  spent  many  of  his  working  years  in 
London,  and  painted  thoroughly  in  the  matter-of- 
fact  manner  of  his  period. 

After  glancing  at  a  characteristic  cavalry  com- 
bat by  Jacques  Courtois  Bourguignon,  we  come  to 
a  number  of  Dutch  landscapes.  The  first  in  order 
is  one  by  Herman  Saftleven,  a  scholar  of  van 
Goyen's  studio,  who  painted  agreeable  little  river 
views  with  a  fine  brush  in  a  golden  brown  tone. 
His  art,  though  conventional,  is  delightful  in  its 
way.  Jan  Vermeer  van  Haarlem  was  partial  to 
sea  pieces,  but  is  here  represented  by  a  large  river 
view,  with  a  good  sky,  and  clear,  transparent  water. 
Aert  van  der  Neer,  without  recognition  during  his 
life  and  dying  very  poor,  was  a  meritorious  artist 
with  an  individual  style,  easily  recognised.     In  his 


TLbc  Xiecbtenstein  Collection        237 

village  views  by  moonlight,  of  which  we  find  here 
an  excellent  example,  he  depicted  the  silvery  re- 
flections with  the  same  facility  shown  in  the  ruddy 
glow  of  his  conflagrations  by  night. 

The  marine  painter  Simon  de  Vlieger,  whom  we 
have  met  in  the  Academy,  has  here  an  unusual 
wood-interior,  in  rich  brown  tones.  A  landscape, 
with  oaks  near  a  quiet  pond,  by  Meindert  Hobbema, 
is  not  as  impressive  as  we  generally  find  the  work 
of  this  great  master.  A  few  Flemish  landscapes, 
the  best  of  which  are  by  Jan  Wildens,  show  how 
far  superior  the  Dutch  landscape  painters  were  to 
their  Southern  brethren. 

A  little  gem  that  sparkles  in  this  room  is  a 
**  Seamstress,''  by  Nicolaas  Maes.  It  is  of  his  middle 
period,  before  he  became  Frenchified,  and  is  painted 
in  the  time  of  his  famous  old  women  at  the  spinning- 
wheel,  of  the  Ryksmuseum.  In  the  work  of  this 
period  he  unites  subtlety  of  chiaroscuro,  vigorous 
colour,  and  great  mastery  in  handling,  with  that  true 
finish  which  never  becomes  trivial.  Still  another 
little  panel  of  the  Dutch  genre  painters  must  not  be 
passed  by.  It  is  by  Quiryn  Brekelenkam,  and  shows 
us  a  little  shop  where  an  old  woman  is  selling  vege- 
tables to  a  young  housewife  whose  child  holds  tightly 
to  its  mother's  apron.  Although  this  artist  can  by 
no  means  be  ranked  with  his  master  van  Ostade, 
he    had    still    a    fair    eye    for    the    visible    world. 


238     Xtbe  art  of  tbe  IDienna  (Balleries 

and  a  significant  manner  of  portraying  what  he 
saw. 

The  Fourth  Room  is  given  entirely  to  the  17th 
century  Dutchmen,  with  a  few  Flemings  added. 
The  first  striking  work  is  the  portrait  of  a  black- 
gowned,  aristocratic  looking  lady,  seated  in  an  arm- 
chair, which  is  by  Hendrik  Gerritsz.  Pot,  who  in 
his  single  figures  affected  Rembrandt's  manner, 
while  his  small  group  paintings  are  more  after  Hals, 
in  their  diffused  light  and  tonal  colours. 

Gerard  Dou's  most  gifted  pupil  was  Frans  van 
Mieris,  whose  small-sized  panels  have  a  distinct  note 
of  refinement.  His  example  of  a  *'  Lady  playing  the 
Harp  ''  displays  that  vivacity  of  colour  and  exquisite 
technical  quality  which  made  him  one  of  the  most 
popular  of  his  contemporaneous  brethren  of  the 
brush.  His  characteristic  attention  to  the  drawing 
and  expression  of  the  hands  may  be  studied  here. 

Two  examples  are  to  be  noted  by  that  inimitable 
farcical  philosopher  Jan  Steen.  In  the  one  he  holds 
up  to  ridicule  a  scene  which  might  be  taken  from 
one  of  Moliere's  comedies.  An  old  duenna  hands 
a  love-letter  to  a  young  woman  from  her  elderly 
swain.  The  expressions  of  the  faces  are  comical 
in  their  lucidity  of  purpose.  The  other  picture  is 
one  of  his  chapters  dedicated  to  Bacchus  —  the  in- 
terior of  a  tavern  where  men  are  drinking  and 
carousing.    Jan  Steen  was  Holland's  realistic  poet- 


xrbe  Xiecbtenstefn  Collection        239 

painter  of  boisterous  comedy  and  satirical  farce. 
He  must  not,  of  course,  be  measured  by  the  stand- 
ards that  prevail  to-day,  but  in  an  age  and  among 
people  the  reverse  of  prudish,  he  held  the  mirror  up 
to  nature ;  and,  far  from  extolling  the  human  weak- 
nesses he  loved  to  depict,  his  scenes  have  always  at 
bottom  a  moral  significance. 

Among  the  gay  crowd  that  gathered  in  the 
Haarlem  studio  of  the  jolly  Frans  Hals  was  Jan 
Miense  Molenaer,  of  whom  we  find  here  a  Twelfth 
Night  festivity.  It  is  a  droll  frolic,  exuberantly 
animated,  somewhat  reminiscent  of  a  like  scene, 
depicted  by  Jordaens,  which  we  saw  in  the  Imperial 
Museum.  In  the  same  spirit  of  gay  abandon  is 
the  concert  by  three  peasants,  from  the  brush  of  the 
younger  Teniers. 

The  wall  before  which  we  stand  has  also  a  few 
landscapes.  An  Italian  scene,  in  which  a  strong- 
hold built  on  the  border  of  a  lake  forms  the  key- 
note, is  by  Jan  Asselyn,  better  known  for  his  fine 
portraits  of  the  denizens  of  the  farm  yard,  fowls 
and  poultry.  These  rare  landscapes  are  the  product 
of  his  sojourn  in  the  south-land.  A  typical  cabinet 
piece  is  by  Cornells  van  Poelenburgh,  who  depicts 
a  satyr  and  a  nymph,  in  an  Elsheimer  landscape- 
setting.  It  IS  dainty,  beautiful  in  line,  clear  and 
tender  in  light-effect.  More  spirited  is  the  "  Cavalry 
Attack,"  by  Philip  Wouwerman,  in  which  the  land- 


240     Ube  Hrt  of  tbe  IDienna  (Ballerfes 

scape  forms  a  striking  part  in  the  composition.  The 
foliage  is  verdant  and  clear,  and  the  light-effect 
peculiarly  charming.  Since  Wouwerman  spent  all 
his  life  in  his  native  Haarlem  we  may  presume  that 
his  landscape  setting,  often  so  foreign  to  the  Dutch 
flats,  was  copied  from  the  work  of  artists  who  had 
travelled  farther  afield. 

A  winter  landscape  is  from  the  brush  of  Raphael 
Camphuyzen,  who  generally  painted  moonlight  sub- 
jects in  the  style  of  van  der  Neer.  His  pictures  are 
exceedingly  rare,  not  a  single  one  being  found  in 
any  of  the  Netherland  galleries.  A  typical  Dutch 
landscape,  with  meadows  and  canals,  is  by  Salomo 
van  Ruysdael,  Jacob's  uncle.  It  is  a  middle-period 
picture,  for  it  indicates  greater  firmness  of  hand 
and  strength  in  colour  than  when  he  was  still  under 
the  influence  of  his  master  Esaias  van  de  Velde. 
He  evidently  tried  to  emulate  his  renowned  nephew, 
in  which  he  became  quite  successful. 

The  glowing  painter  of  Dutch  landscapes  was 
the  sunny-hearted  Aelbert  Cuyp.  His  talent  was 
many-sided.  The  cattle  he  placed  on  the  sward 
raised  him  to  foremost  rank  among  animal  painters. 
The  still-lives  which  he  produced  in  early  years  show 
a  refinement,  a  feeling  for  texture  and  colour,  which 
places  him  above  any  of  the  artists  who  devoted 
themselves  exclusively  to  such  themes.  But  he  ex- 
celled in  landscape,  with  such  simplicity,  such  lack 


Ube  Xiecbtenstein  Collection        241 

of  pretention  or  effort,  such  happy,  unstudied  com- 
binations of  arrangement,  that  he  may  well  be  called 
one  of  the  greatest  landscape  painters  of  the  golden 
age.  His  forte  was  his  feeling  for  sun-light,  which 
does  not  play  hide-and-seek  in  light  and  shade,  but 
fairly  bathes  his  scenes  in  golden  glow.  The  ex- 
ample before  us  shows  a  stream,  with  sailboats, 
with  an  atmospheric  effect  of  a  hazy  morning  and 
a  summer  sky  reflecting  in  the  expanse  of  water. 

We  find  still  another  example  of  the  younger 
Teniers  in  the  corner.  This  is  one  of  his  famous 
**  Temptations  of  St.  Anthony,"  a  favourite  subject 
with  the  artist,  and  one  which  he  treated  with  in- 
tense humour.  Turning  the  corner  we  find  on  the 
rear- wall  of  this  chamber  a  few  more  examples  of 
Teniers'  spirited  brush  —  the  interior  of  a  peasant- 
inn,  a  couple  of  way-side  travellers,  and  a  harvest 
scene.  The  qualities  which  most  attract  us  in  these 
works  are  his  picturesque  arrangement,  delicately 
balanced,  the  exquisite  harmony  of  his  colouring, 
and  that  light  and  sparkling  touch  in  which  the 
separate  strokes  of  the  brush  are  left  unbroken. 

By  Adriaen  Brouwer  we  find  two  little  oval  panels 
with  his  favourite  types,  of  a  drinker  and  of  a 
smoker. 

His  northern  confrere,  and  fellow-pupil  in  the 
studio  of  Hals,  Adriaen  van  Ostade,  was  a  superior 
artist.     Especially  do  his  two  examples  before  us, 


242     Zbc  Hrt  of  tbe  Wienna  (Balleties 

both  tavern  interiors,  declare  a  more  learned  talent. 
The  humourous  mise-en-scene  is  a  natural,  artless 
portrayal  of  life  with  no  overstrained  action.  We 
see  how  cleverly  he  used  to  juggle  his  paint  in 
melting  colours.  The  deft  application  of  light-efifect 
points  to  the  period  after  van  Ostade  had  come 
under  Rembrandt's  influence,  when  also  the  cool 
tone  changed  to  a  deeper,  golden  brown. 

A  follower  of  Brouwer  was  Joost  van  Craesbeeck, 
whose  work  is  exceedingly  rare.  His  capital  humour 
borders  somewhat  on  the  burlesque  in  the  two  ex- 
amples before  us. 

It  seems  rather  incongruous  to  see  among  these 
scenes  of  slightly  coarse  conception  and  broad  in- 
tent the  over-refined  work  of  Schalcken  and  of 
Eglon  van  der  Neer.  Two  portraits  by  God  fried 
Schalcken  show  how  much  less  successful  he  was 
in  these  than  in  his  candle-light  genre.  Although 
well-drawn,  the  smooth,  polished  surface  is  un- 
pleasant, and  the  labour  bestowed  upon  these  works 
too  obvious.  Eglon  Hendrik  van  der  Neer,  the 
son  of  the  landscape  painter  Aert,  tried  to  imitate 
Gerard  Terborch,  in  which  he  failed  ignominiously. 
The  lady  at  breakfast,  dressed  in  reddish  white  silk, 
is  typical  of  his  misdirected  efforts.  A  silvery  moon- 
light landscape  by  his  father,  which  hangs  next,  has 
poetic  flavour  and  sincere  workmanship. 

A  few  more  Flemish  pictures  of  secondary  im- 


Ube  Xtecbtenstein  coiiecrfon       243 

portance  complete  this  wall.  A  small  landscape  with 
a  hundred  finical  figures,  and  a  village  street  with 
passing  crowds,  are  by  the  younger  Jan  Baptist 
Breughel.  Equally  miniaturelike  is  the  work  of 
Lukas  van  Valckenborch  and  of  Lukas  van  Uden. 
In  the  centre  of  this  wall  hangs  a  portrait  of  Prince 
Johann  Wenzel  von  Liechtenstein,  whose  connois- 
seurship  established  the  best  part  of  this  collection. 
It  is  by  Johann  von  Lampi. 

On  the  next  wall  we  find  a  few  masterpieces 
among  much  of  far  less  importance.  Roelant 
Savery,  although  born  in  Flanders,  spent  his  best 
working  years  in  Utrecht,  after  1613.  He  was  in- 
spired by  the  Tyroler  Alps,  of  which  we  find  here 
an  example,  somewhat  cold  and  artificial.  Another 
landscape,  by  J.  B.  Breughel,  is  in  the  manner  of  the 
one  we  have  already  seen.  This  brings  us  to  a 
curious  work  of  Abraham  Teniers,  who  tried  to 
imitate  one  of  his  father's  ape-pictures. 

Of  supreme  importance  is  a  landscape  by  Esaias 
van  de  Velde,  the  founder  of  the  Haarlem  landscape 
school,  who  helped  to  rescue  the  native  school  from 
the  exotic,  garish  Italian  influences.  This  '^  Deer- 
hunt  in  the  Forest ''  has  a  setting  of  large  expression 
and  outdoors  feeling.  An  early  work  of  Jan  van 
Goyen,  a  winterscape,  with  skaters  enjoying  them- 
selves on  the  ice,  is  equally  replete  with  native 
atmosphere.     A  magnificent  cattlepiece  is  from  the 


244     'Jibe  Hrt  ot  tbe  Dienna  Galleries 

brush  of  Aelbert  Cuyp,  where  the  naturalness  of  the 
figures,  both  of  the  animals  and  of  the  herder's 
family,  vies  with  the  marvellous  luminosity  of  the 
sunny  clouds  to  construct  a  scene  of  unsurpassed 
rustic  charm. 

It  is  a  far  cry  from  these  sincere  and  serious 
works  of  the  great  landscape  painters  to  the  work 
of  Adriaen  van  der  Werff,  whose  artistry,  at  the 
end  of  this  glorious  century  spelled  the  decadence 
and  death  of  Dutch  art.  His  "  Lamentation  of 
Christ,''  with  its  cold,  porcelainlike  colour  and  me- 
chanical finish,  is  in  perfect  accord  with  the 
smooth,  decorative,  **  namby-pamby  "  art  in  which 
he  revelled.  His  style  was  as  vicious  and  con- 
ventional as  Carlo  Dolci's  was  in  Italy. 

The  Fifth  Chamber,  also,  contains  a  mixture  of 
good,  bad  and  indififerent.  The  most  noteworthy 
of  these  paintings  shine  clearly  among  the  lesser 
lights.  A  spirited  "  Horsefair,"  by  the  younger 
Teniers,  is  characteristic  and  of  his  best  work.  It 
must  have  been  painted  between  1640  and  1644, 
when  he  attained  that  luminous,  golden  tone,  and 
careful  and  precise  execution  which  is  the  most 
prized  of  all  his  work.  A  large  cavalry  combat, 
by  Philip  Wouwerman,  is  the  very  antithesis  to  this 
horsefair,  and  yet  the  two  display  the  excellence  of 
diverging  tendencies.  Egbert  van  der  Poel  was  an 
imitator  of  Aert  van  der  Neer's  conflagration  scenes, 


xrbe  Xiecbtenstetn  Collection        24s 

and  Hendrik  van  Balen  aped  Rubens  in  a  compo- 
sition depicting  a  sacrifice  to  Greek  deities,  in  which 
many  figures  are  grouped.  Two  large  flowerpieces 
by  Jan  van  Huysum,  with  their  light  backgrounds, 
have  a  showy  character. 

On  the  long  wall  of  this  room  we  find  two  beau- 
tiful bouquets  by  Rachel  Ruysch,  whose  tasteful 
simplicity  and  harmonious  colouring  accords  her  a 
higher  artistic  standing,  although  she  was  less 
popular  in  her  day  than  van  Huysum.  The  best 
works  on  this  wall  are  two  strong  and  characteristic 
products  of  Allert  van  Everdingen,  and  of  Meindert 
Hobbema.  The  fir  forest  with  cascading  rapids  is 
one  of  those  scenes  which  Allert  sketched  so  assidu- 
ously in  Norway.  The  young  artist's  passion,  as 
displayed  here,  is  profoundly  impressive.  Meindert 
Hobbema's  favourite  subject  was  a  wooded  dell 
with  a  pool  of  water,  such  as  we  see  here.  The 
portrayal  is  simple  and  yet  most  poetic,  with  the 
casual  flicker  and  flash  of  a  bright  sunbeam. 

In  the  next  Room  is  found  an  interesting  early 
work  by  Jan  van  Goyen,  still  in  the  tight  manner 
acquired  in  his  schooling  with  Esaias  van  de  Velde. 
This  has  led  to  the  attribution  of  this  painting  to 
Aelbert  Cuyp,  which  is  a  palpable  error.  It  is  a 
beautiful  picture  of  the  estuary  of  a  river,  with  a 
castle  near  the  shore. 

By  Aelbert's  father,  Jacob  Gerritsz.  Cuyp,  is  a 


246     XTbe  Hrt  of  tbe  IDienna  ©alleries 

barn  interior  where  soldiers  are  quartered.  The 
remarkable  fidelity  and  naturalism  of  the  Dutch 
genre  school  is  eminently  displayed.  The  droll 
humour  of  Adriaen  van  Ostade  signalises  a 
"  Peasant-dance  " ;  while  the  rare  Jan  Vermeer  van 
Haarlem  is  represented  by  a  wide  stretch  of  flat 
country,  domed  by  a  magnificent  sky-efifect.  A  deli- 
cate **  Finding  of  Moses "  is  by  Cornelis  van 
Poelenburg,  and  the  half- figure  of  a  girl  is  by 
Jacob  Toorenvliet,  whose  devoted  study  of  Raphael 
is  clearly  perceptible.  Rembrandt's  closest  imitator, 
Gerbrandt  van  den  Eeckhout,  has  a  typical  scene  of 
an  old  king,  seated  at  table,  no  longer  able  to  enjoy 
the  food  which  a  kneeling  servant  offers  him.  In 
melancholy  mood  he  stares  before  him,  feeling,  as 
it  were,  the  approach  of  the  angel  of  Death,  who 
appears  in  the  dark  shadows  behind  him.  On  the 
rear  wall  we  find  a  few  excellent  conversation  pieces 
by  Dirk  Hals  and  by  Pieter  Codde.  Two  cavaliers 
and  a  maiden  playing  backgammon  are  pictured  by 
Hals.  Codde,  with  as  fine  a  colour  but  greater 
minuteness,  has  two  graceful  assemblies.  The  centre 
of  this  wall  is  occupied  by  a  portrait  of  Prince 
Adam  Wenzel  von  Liechtenstein,  in  magnificent 
court-costume.  It  is  by  the  Frenchman  Hyacinthe 
Rigaud,  the  typical  painter  of  the  pompous  age  of 
Louis  XIV. 

The  last  wall  has  still  other  fine  examples  of  the 


HEINRICH 
ALDEGREVER 


PORTRAIT    OF    A    MAN 
Plate  XXXVI 


Liechtenstein 
Collection 


XTbe  Xiecbtenstein  Collection        247 

Dutch  landscape  and  marine  painters.  The  many- 
sided  Adriaen  van  de  Velde  is  here  represented  by 
a  landscape  with  deer,  in  which  the  artist's  sense  of 
colour  and  tone,  as  well  as  his  delicacy  of  form  and 
outline,  are  greatly  to  be  admired.  He  shows  a  won- 
derful subtlety  in  the  gradation  of  almost  neutral 
hues.  A  landscape,  in  which  the  architectural 
painter  Jan  van  der  Heyden  placed  a  castle,  is  of 
equal  distinction.  Jan  Hackaert  was  formed  in 
Germany  and  Italy,  as  indicated  by  a  valley  view, 
which  breathes  a  southern  atmosphere.  Later  he 
was  purer  in  native  inspiration. 

One  of  the  greatest  of  the  Haarlem  school  of 
landscape  painters  was  Jan  Wynants,  who  showed 
originality  in  the  selection  of  his  subjects.  He 
favoured  open  scenery,  as  seen  in  a  large  river  view 
here,  with  a  sky  of  summer  blue,  broken  by  illumi- 
nated cloud  masses. 

A  magnificent  marine,  with  sailing  craft  on  the 
choppy  waves,  cannot  with  certainty  be  ascribed  to 
any  master.  Porcellis,  Willem  van  de  Velde,  Simon 
de  Vlieger,  even  Rembrandt,  have  been  suggested. 
The  first  named  has  a  signed  painting  in  the  Schon- 
born  collection  which  is  very  similar  in  character  and 
it  is  most  plausible  to  ascribe  this  unknown  work 
to  him.  The  sky,  especially,  is  of  a  fine  and  strong 
quality.  A  landscape  by  Jacob  van  Ruisdael  still 
makes  us  pause.     It  is  the  only  example  of  this 


248     Ube  Hrt  of  tbe  IDienna  ©alleries 

painter  in  this  collection,  but  a  masterpiece.  A! 
brook  dashes  over  rocks  and  stones  through  the 
forest,  its  lonesomeness  being  relieved  by  the  human 
element  of  a  woman  and  child  crossing  the  little 
bridge  in  the  foreground  to  meet  the  woodchopper 
as  he  returns  homeward. 

The  following  chamber  contains  earlier  work. 
First  we  note  a  number  of  the  old-German  artists. 
An  exceedingly  rare  work  by  the  famous  etcher 
Heinrich  Aldegrever  is  the  *'  Portrait  of  a  Man  " 
(Plate  XXXVI),  the  only  work  by  this  artist  in 
Vienna.  It  is  a  square-blocked  composition,  with 
a  conventional  landscape  background.  The  artist's 
monogram  is  engraved  on  the  leaflet  suspended  from 
the  branch  in  the  upper-left  corner.  Somewhat 
earlier  was  Bernhard  Strigel,  by  whom  we  find 
two  bust  portraits,  pendants.  This  early  master 
was  at  his  best  in  portraiture;  his  figure  compo- 
sitions, of  which  the  Germanic  Museum  in  Nurem- 
berg has  several,  are  somewhat  awkward  and  pro- 
vincial. 

Another  rarely  occurring  master  was  Hans 
Miilich,  a  Munich  artist,  who  for  a  time  was  court- 
painter  to  Duke  Albert  V  of  Bavaria.  His  portrait 
of  a  man,  found  here,  is  in  the  manner  of  the 
Bolognese  school.  Jan  Stephan  von  Calcar  acquired 
extraordinary  facility  in  imitating  Titian  and 
Raphael.     His  half-figure  of  a  man  with  a  blond 


«  •         )        4 


LUCAS 


ABRAHAM'S    SACRIFICE 

Plate  XXXVII 


Liechtenstein 

Cnllprtinfi 


Zbc  XiecbteuBtetn  CoUectfon        249 

beard,  wrapped  in  a  fur-lined  coat,  is  excel- 
lent. 

Diirer's  master,  Michael  Wolgemut,  is  represented 
here  with  a  portrait  of  an  old,  clean-shaven  man, 
in  a  brown  dress  with  a  white  cap,  which  has  fully 
his  bourgeois  style.  It  lacks  all  distinction  or  ele- 
gance, but  is  realistic  in  its  elucidation,  even  glori- 
fication of  the  commonplace.  Nearby  hangs  a  knee- 
piece  of  the  ''  Madonna  Enthroned,''  with  two 
musical  angels,  which  for  its  rich  renaissance 
flavour  may  be  ascribed  to  the  Ulm  school  of  the 
early  part  of  the  16th  century. 

A  few  paintings  bear  the  name  of  Lucas  Cranach 
the  Elder,  the  most  interesting  of  which  is  '^  Abra- 
ham's Sacrifice"  (Plate  XXXVII).  This  panel 
must  have  come  from  his  later  years,  when  the  in- 
fluence of  Diirer  had  modified  his  archaism  and 
perfected  his  composition  and  drawing,  while  he 
still  adhered,  in  the  landscape  part,  to  the  so-called 
Donau-stil,  which  idealised  landscape  to  a  decorative 
quality.  Cranach's  atavism  —  his  frequent  relapse 
to  archaic  drawing,  generally  noticeable  in  his  single 
figures  —  is  not  at  all  apparent  in  this  excellent 
work. 

Bartholomaeus  Zeitblom  was  the  principal  master 
of  the  Ulm  school  at  the  end  of  the  15th  century. 
A  tendency  had  gradually  developed  towards  greater 
simplicity,  and  more  restfulness  in  composition,  after 


250     Ube  Hrt  of  tbe  IDlenna  (Balleries 

an  exaggerated  striving  to  represent  action  and 
movement.  Zeitblom  possessed  the  typical  Suabian 
characteristic  of  unassuming  reserve,  which  is  shown 
by  the  portrait  of  a  bishop  which  we  find  here. 
The  good  man  is  reading  a  book,  and  by  no  means 
gives  the  impression  of  being  an  authoritative  ItaHan 
ecclesiastic,  but  reminds  one  rather  of  Jean  Valjean's 
bishop,  with  his  gentle  simplicity  and  pious  grace. 
The  artist  has  a  fine  eye  for  luxurious  colour-effect, 
produced  by  the  green  pallium  against  a  golden 
curtain. 

There  is  a  great  difference  between  these  old- 
German  works  and  an  example  of  the  early  French 
school.  It  is  the  only  example  of  this  school  in  the 
Liechtenstein  Gallery,  but  one  of  its  priceless  gems, 
that  attracted  merited  attention  when  it  was  shown 
at  the  Exhibition  of  French  Primitives  in  Paris  in 
1904. 

On  a  small,  almost  square  panel  we  find  the  head 
of  a  beardless  man  (Plate  XXXVIII),  who  rests 
the  fingers  of  his  hand  on  a  rail  in  front.  The 
quaint  figures  at  the  sides  of  the  black  velvet  cap 
give  the  date,  1456,  when  Jean  Fouquet  painted 
this  remarkably  powerful  face.  Fouquet  was  the 
first  great  artist  of  France,  and  flourished  during 
the  reigns  of  Charles  VII  and  Louis  XI,  establish- 
ing the  influential  school  of  Tours.  The  colour  is 
delicate,  although  it  lacks  in  brilliancy,  but  the  nerv- 


JEAN 
FOUQUET 


PORTRAIT    OF    A    MAN 
Plate  XXXVIII 


Liechtenstein 
Collection 


Zbc  Xfecbtenstein  Collection        251 

ous  vitality  of  the  homely  features  in  this  portrait 
is  astounding. 

A  number  of  works  by  the  Flemish  Primitives 
now  attract  our  attention.  Among  these  there  are, 
however,  three  small  panels  which  evidently  came 
from  a  northern  master,  even,  according  to  Bode, 
from  Geertgen  van  Sint  Jans,  the  earliest  Holland 
painter  of  whom  we  have  record,  who  practised  in 
Haarlem  in  the  early  part  of  the  15th  century. 
They  represent  saints  and  donors,  in  miniaturelike 
execution ;  but  the  panels  have  been  much  damaged 
by  careless  restoring.  Another  larger  panel,  a 
"  Crucifixion,"  bears  also  northern  characteristics, 
at  least  it  lacks  the  mystic  piety  of  the  early  Bruges 
school  to  which  it  is  attributed.  Its  greater  realism 
in  the  crucified  body,  and  the  sterner  emotions  dis- 
played by  Mary  and  John,  make  me  even  point  to 
Cornelis  Engelbrechtsen  as  the  possible  author  of 
this  work. 

Of  the  great  Zeeland  master,  Hugo  van  der  Goes, 
we  find  here  a  small  altarpiece  showing  the  "  Adora- 
tion of  the  Magi,"  while  on  the  outside  of  the  wings 
we  see  an  Annunciation,  painted  in  grisaille.  Despite 
the  miniaturelike  execution  there  is  still  a  wonderful 
breadth  of  treatment,  as  well  as  strength  of  colour. 

The  most  attractive,  if  not  the  most  original 
of  all  the  gifted  Flemish  Primitives  was  Hans 
Memlinc,  by  whom  we  have  a  masterpiece  in  his 


252     xrbe  Hrt  of  tbe  IDienna  ©alleries 

"  Madonna  and  Donor  "  (Plate  XXXIX).  In  this 
picture  we  find  all  the  excellences  of  the  work  of 
the  van  Eycks  and  of  Rogier  van  der  Weyden  — 
the  magnificent  colour,  the  painstaking  care  of  exe- 
cution, the  expressiveness  of  drawing;  and  added 
thereto  the  affecting  simplicity  of  presentation  of 
Memlinc  himself.  The  adoring  attitude  of  the 
donor  establishes  a  gentle,  humble,  but  still  cordial 
relationship  with  the  thoroughly  human  appearance 
of  the  Virgin  and  Child.  So  is  the  figure  of  St. 
Anthony,  as  designated  by  the  little  pig  at  his  side, 
wonderfully  expressive  of  affectionate  interest 
Memlinc  excelled  his  forerunners  in  that  he  infused 
in  his  recital  of  Christian  traditions  a  purer  human- 
ism than  had  as  yet  been  attained.  His  half-figure 
of  the  **  Madonna  and  Child,"  before  an  archi- 
tectonic background,  is  more  conventional  but  still 
opulent  in  splendour. 

Several  works  are  ascribed  to  Quentin  Massys, 
but  only  one  with  undoubted  authority.  This  is  a 
*'  Portrait  of  an  Ecclesiastic,''  and  must  be  regarded 
as  the  master's  principal  work  in  Vienna.  The  half- 
figure  of  the  man,  standing  behind  a  balustrade,  is 
seen  looking  straight  before  him  with  an  animated 
light  in  his  eyes,  as  if  pausing  in  expounding  a 
passage  from  the  book  which  he  holds  in  his  left 
hand.  The  eyeglasses  which  he  holds  in  his  right 
touch  the  book  in  the  most  natural  manner.     His 


HANS 
MEMLINC 


MADONNA    AND    DONOR 
Plate  XXXIX 


Liechtenstein 
Collection 


XCbe  Xiecbtenstein  Collection        253 

black,  fur-bordered  coat  is  almost  entirely  covered 
by  a  white,  pleated  surplice  of  lacy  lawn,  and  his 
strongly  modelled  head  is  covered  with  a  stiff 
beretta.  The  preacher,  for  this  is  undoubtedly  his 
profession,  is  discoursing  in  the  open,  and  a  beauti- 
ful,  undulating  landscape  stretches  behind  him. 

The  progress  of  landscape  art  is  further  shown 
in  an  excellent,  early  work  ,by  Hendrik  met  de  Bles, 
signed  with  his  little  owl,  portraying  the  holy  her- 
mits Paul  and  Anthony.  This  work  is,  without 
a  vestige  of  reason,  ascribed  to  Lukas  van  Leyden. 
Of  the  later  Flemings  we  find  here  the  two 
Breughels,  Peasant  Breughel  and  Hellish  Breughel. 
The  former  has  a  "  Preaching  by  John  the  Baptist '' 
and  a  "  Triumph  of  Death '' ;  while  the  latter  is 
seen  in  a  winter  landscape  that  has  much  similarity 
to  his  small  snow  scene  which  we  saw  in  the  Imperial 
Museum.  The  only  known  authentic  work  of  Gillis 
van  Coninxloo,  a  famous  landscape  painter  of  his 
day,  hangs  here  in  the  Liechtenstein  Gallery.  He 
commingled  his  native  landscapes  with  the  flavour 
of  his  Italian  training.  An  equally  rare  work  must 
also  be  noticed  from  the  Amsterdam  painter  Jacob 
Cornelisz.  van  Oostsanen,  who  depicts  the  "  Death 
of  Mary  "  with  the  same  infection  of  Italian  tend- 
encies which  caused  the  decadence  of  the  art  of 
his  Flemish  brethren. 

The  last  two  rooms  are  filled  with  the  works 


254     Ube  art  of  tbe  Dienna  ©alleries 

of  the  still-life  painters,  with  a  few  landscapes  and 
marines.  Of  principal  worth  are  the  products  of 
the  chase,  by  Jan  Fyt,  Jan  Davidsz.  de  Heem,  and 
Jan  Weenix ;  still-lives  by  Willem  Claesz.  Heda  and 
Frans  Snyders;  a  fine  turbulent  seapiece  by  Simon 
de  Vlieger,  and  an  equally  strong  seacoast  in  a  storm, 
by  the  somewhat  later  Ludolf  Bakhuyzen.  A  rare 
work  is  by  Leonard  Bramer,  of  whom  the  Ryks- 
museum  of  Amsterdam  possesses  the  only  known 
example  in  the  Netherlands.  This  picture  repre- 
sents Lazarus  being  carried  by  the  angels  to  Abra- 
ham's bosom.  It  is  painted  in  the  Italian  style,  with 
a  Rembrandtesque  modification  of  its  chiaroscuro. 


GERARD 
TERBORCH 


DOUBLE    PORTRAIT 
Plate  XL 


Csernin 
Collection 


CHAPTER   IX 

THE     COLLECTION     OF     COUNT     CZERNIN 

The  three  hundred  and  fifty  paintings  which 
form  the  Czernin  collection  are  gathered  in  three 
large  rooms  and  a  small  cabinet  of  the  Count's 
town  residence  in  Vienna.  The  paintings  are  not 
hung  in  any  logical  order,  although  some  degree  of 
sympathetic  arrangement  is  observed,  since  the  room 
to  the  left  of  the  entrance  corridor  is  almost  entirely 
devoted  to  17th  century  Netherland  art;  the  room 
to  the  right  contains  a  number  of  Spanish  paintings, 
as  well  as  further  examples  of  Dutch  and  Flemish 
masters;  and  the  room  farthest  from  the  entrance 
has  most  of  the  Italian  paintings. 

If  we  should  wish  to  designate  the  feature  of 
supreme  excellence  in  the  Czernin  collection  we 
would  at  once  refer  to  the  number  of  gems  found 
here  of  the  Dutch  Little  Masters.  Few  museums 
possess  so  many  works  of  these  bright  stars  of  the 
golden  age,  of  which  each  one  separately  must  be 
regarded  as  the  finest  product  of  the  artist  who 
wrought  it.     When  we  turn  into  the  room  on  our 

255 


2s6     Zbc  Hrt  ot  tbe  IDienna  ©alletiea 

left  we  note  at  once  works  by  Terborch,  Vermeer 
van  Delft,  Kaspar  Netscher,  Dou,  Jacob  van 
Ruisdael,  Potter  and  Aelbert  Cuyp,  that  cannot  be 
surpassed  by  any  examples  of  their  work  in  any 
museum  of  Europe. 

In  the  centre  of  the  wall  near  the  entrance  hangs 
a  magnificent  "Double  Portrait"  (Plate  XL),  by 
Gerard  Terborch,  which  until  recently  was  kept  in 
the  private  apartments  of  Count  Czernin.  This  is 
possibly  the  finest  piece  of  painting  that  has  come 
down  to  us  from  Terborch's  brush.  It  possesses 
a  refinement  of  style,  a  sifting  and  straining  of 
all  that  is  fittest,  a  vision,  indeed,  of  rare  and 
admirable  beauty  that  might  be  called  brilliantly 
flashing  were  it  not  softened  and  sobered  by  that 
most  charming  of  qualities  in  painting  —  naivete. 
Who  can  look  at  this  counterfeit  presentment  of 
a  dignified  dame  and  courteous  gentleman  but  does 
not  find  in  it  the  essence  of  what  was  pleasantest 
and  most  refined  in  the  Dutch  life  of  that  day,  the 
air  of  birth  and  breeding,  the  profound  placidity 
of  elegant  manners?  Even  the  colouring,  sober  to 
the  point  of  severity,  is  harmonious  with  dignified 
reserve.  The  setting  likewise  —  on  the  terrace  of 
a  summer  home,  looking  towards  the  formal  group- 
ing of  the  park  —  conveys  the  atmosphere  suggested 
by  the  patrician  in  black  velvet,  and  his  lady  stand- 
ing there   so   naturally   in   her   shimmering   satin. 


JAM 

VERMEER 
VAN 
DELFT 


ARTIST    IN    HIS    STUDIO 

Plate  XLi 


Czernin 
Collection 


xrbe  Collection  of  Count  Csetnfn     257 

Terborch  was  the  keen  and  faithful  historian  of  the 
order  he  presents  on  this  canvas. 

Personally  I  would  suggest  that  there  is  great 
probability  that  we  have  here  the  likeness  of  the 
artist  and  his  wife  —  an  observation  which,  strange 
to  say,  has  not  been  made  heretofore.  Yet,  a  com- 
parison with  the  features  of  Terborch's  self-portrait 
in  the  Mauritshuis  seems  to  indicate  that  the 
Czernin  portraits  might  have  been  painted  six  or  ten 
years  earlier.  The  three  following  pictures,  all  self- 
portraits  of  Vermeer  van  Delft,  Netscher  and  Dou, 
point  to  a  predilection  which  the  founder  of  the  col- 
lection seems  to  have  had  to  acquire  artists'  self- 
portraits. 

In  the  centre  of  the  opposite  wall  hangs  another 
gem  of  the  art  of  painting.  This  is  a  masterpiece 
by  Jan  Vermeer  van  Delft,  and  shows  the  **  Artist 
in  his  Studio  "  (Plate  XLI).  It  is  the  nearest  ap- 
proach to  a  portrait  of  the  artist  that  exists  —  and 
an  unsatisfactory  one,  surely.  The  painter,  how- 
ever, throws  at  least  some  light  on  the  temporal 
circumstances  of  himself,  of  whom  so  little  else 
is  known.  The  room  is  luxuriously  appointed,  and 
the  artist  is  richly  attired,  showing  the  prosperous 
circumstances  to  which  his  art  have  brought  him. 
The  beautiful  harmony  of  the  colours  in  this  paint- 
ing, the  mellowness  of  its  tone,  and  the  breadth  of 
handling  which  it  reveals  make  this  one  of  the  finest 


2s8     TLbc  Hrt  ot  tbe  IDienna  ©alleries 

works  of  Vermeer's  maturity.  He  seemed  to  have 
delighted  in  overcoming  all  kinds  of  technical  diffi- 
culties—  the  wonderful  management  of  light,  the 
texture  painting  of  the  heavy  curtain,  the  brass 
chandelier,  the  costumes  of  himself  and  of  the  model 
who  holds  a  yellow  book.  It  may  lack  the  charm 
of  his  earlier  and  simpler  compositions,  but  it  has 
a  painter's  quality,  unsurpassed  by  anything  he  had 
ever  done  before.  This  painting  was  formerly 
attributed  to  Pieter  de  Hooch.  It  was  Burger,  the 
discoverer  of  Vermeer  van  Delft,  who  restored  it 
to  its  rightful  author,  whose  signature  he  discovered 
in  the  lower  part  of  the  map. 

The  similarity  of  the  art  of  these  Little  Masters 
is  seen  in  the  beautiful  portrait  group  by  Kaspar 
Netscher,  of  himself,  his  wife  and  child,  framed 
in  an  arched  window.  Below  the  sill  is  shown  the 
low-relief  of  putti,  as  we  notice  it  so  frequently  in 
the  pictures  of  Gerard  Dou. 

Of  the  latter  we  find  a  self-portrait  (Plate  XLII), 
that  must  have  been  painted  some  ten  years  after 
the  well-known  portrait  in  the  National  Gallery. 
The  master,  still  holding  his  palette,  is  leaning  on 
the  window  sill,  resting  a  while  from  his  work  on 
the  little  picture  that  is  seen  standing  on  the  easel 
in  the  studio.  The  artist  displays  here  all  the  per- 
fections of  portraiture:  truth  of  likeness,  dignity, 
naturalness  of  carriage,  and  character. 


CERARD 
DOU 


SELF-PORTRAIT 
Plate  XLii 


Csernin 

Collection 


Zbc  Collection  of  Count  Csernln     259 

Turning  to  the  screen  in  the  centre  of  the  room 
we  behold  a  masterful  product  of  the  brush  of 
Jacob  van  Ruisdael.  A  wooded  valley,  with  a 
foaming,  dashing  brook,  and  a  heavy,  storm-threat- 
ening sky,  is  a  picture  that  is  very  rich,  very 
vigorous,  and  very  beautiful.  The  clouds  are 
somewhat  dull  and  heavy,  but  the  effect  of  the  light 
flashing  from  behind  them  upon  the  trees  is  fine. 
Everything  is  pitched  in  a  key  of  greys,  greens  and 
browns,  and  nature  seems  to  be  hushed  in  a  mystic, 
sad  solitude  that  is  profoundly  impressive.  Artis- 
tically this  sombre  sentiment  pervades  the  landscape 
with  a  singleness  of  aim  and  a  unity  of  means 
significant  of  power. 

We  spy  another  bright  jewel  gleaming  on  this 
screen.  This  is  the  famous  "Morning"  (Plate 
XLIII),  by  Paul  Potter,  which  in  many  respects 
surpasses  his  better-known  "  Young  Bull ''  of  the 
Mauritshuis,  The  Hague.  A  cow,  just  emerging 
from  the  barn,  loudly  bellows  a  morning  greeting 
to  the  fresh  air  and  rising  sun.  Two  of  the  cattle, 
already  in  the  road,  have  playfully  locked  horns, 
and  the  peasant  is  trying  to  separate  them,  causing 
great  excitement  to  the  youngster  who  is  held  in 
his  mother's  arm  at  the  cabin  door.  The  pure 
bracing  morning  breeze  fills  the  whole  canvas 
like  a  breath  of  out-of-doors.  There  is  exact 
truth   and   simplicity  in  the   whole   scene,   a  mar- 


26o     Zbc  art  of  tbe  IDienna  ©alleries 

vellous  expressiveness  of  the  nature  of  animals  and 
men. 

Of  Aelbert  Cuyp,  that  other  great  animal  and 
landscape  painter,  we  find  here  an  excellent  example 
that  spreads  an  immensity  of  distance  before  our 
eyes.  We  see  meadows,  dunes,  a  stretch  of  water, 
with  a  sailboat  lazily  floating  before  the  soft  breeze. 
A  herd  of  cattle  is  ruminating  on  the  distant  dike, 
and  a  sky  studded  with  watery  clouds  looms  over- 
head. 

And  as  our  eyes  wander  along  these  walls  we 
note  still  more  exquisite  examples  by  worthy  men. 
Philip  Wouwerman  shows  some  of  his  horsepainting 
in  the  "  Stirrup-cup '' ;  Adriaen  van  de  Velde  has 
here  a  meadow  with  cattle;  and  Jan  Vermeer  van 
Haarlem  a  graceful,  wooded  landscape.  A  roaring 
waterfall,  broken  by  jagged  rocks,  with  a  dense 
pine  forest,  is  by  Allert  van  Everdingen;  and  an 
Italian  scene  with  ruins,  of  delicate  brushing  and 
harmonious  colouring,  is  by  Nicholas  Berchem. 
Aert  van  der  Neer  is  here  shown  in  one  of  his 
favourite  midnight  conflagrations,  shedding  a  lurid 
glow  over  the  excited  crowd  of  people.  Corne- 
lis  Saftleven,  van  Goyen's  pupn,  has  an  agree- 
able river  view,  painted  with  a  fine  brush  — 
although  conventional,  it  is  delightful  in  its 
way.  Cornelis  Decker  belonged  to  the  Ruisdael 
studio,   and   has   an   attractive   landscape,    divided 


g 
5 

O 


^  o 


XTbe  (Tollectfon  of  Count  Csernin      261 

by  a  stream,  in  which  three  men  in  a  boat  are 
fishing. 

One  of  the  finest  interiors  painted  by  Adriaen  van 
Ostade  shows  the  corner  of  a  low-roofed  taproom, 
where  three  peasants  are  drinking  in  hilarious  aban- 
don. The  Hght  that  streams  into  the  dark  corner 
through  the  square  window  on  the  left  is  brilliantly 
handled  and  centres  on  the  figure  of  a  white- 
shirted  boor  on  a  bench,  who  leans  *'  half-seas-over  '' 
against  the  wall,  still  holding  the  large  beerpot 
clutched  between  his  legs.  Nearby  hangs  a  fine 
example  of  Rembrandt's  devoted  pupil,  Gerbrandt 
van  den  Eeckhout,  entitled  ''  Judith  and  Tamar." 

The  still-life  painters  are  as  well,  if  not  as  nu- 
merously represented  as  in  the  other  collections. 
Hondecoeter,  Weenix,  the  de  Heems,  Rachel 
Ruysch,  and  van  Huysum  may  be  seen  to  advan- 
tage. 

There  are  also  a  number  of  Flemish  paintings  in 
this  Salon.  Foremost  stands  a  masterful  work  of 
Rubens,  "  The  Maries  at  the  Sepulchre.''  This  must 
be  regarded  as  a  personal  work  by  the  great  master, 
and  one  of  the  most  reserved  and  impressive  of 
his  religious  compositions.  There  is  great  dignity 
in  the  figure  of  the  sorrowing  mother;  the  women 
surrounding  her  display,  without  exaggeration, 
astonishment,  fear,  and  then  curious  interest  in  the 
tidings    brought    them    by    the    heavenly    heralds. 


262     Zbc  Hrt  of  tbe  IDienna  (Balleries 

Well-drawn,  solidly  built  figures  of  men  stand  at 
the  entrance  of  the  open  vault.  Strong  light 
emanates  from  their  super-mundane  bodies  with 
irradiating  brilliancy,  which  brings  out  the  female 
figures  in  luminous  chiaroscuro,  although  not  with 
the  learned  gradations  which  Rembrandt  would  have 
employed. 

The  portrait  of  a  young  man,  a  three-quarter 
length,  comes  from  the  later  period  of  van  Dyck, 
and  is  neat  but  conventional.  There  is  greater 
strength  of  portraiture  in  Jan  van  Renesse's  "  Con- 
cert,'' with  the  members  of  a  family  performing  on 
flute,  spinet,  etc.  The  work  was  formerly  ascribed 
to  Rembrandt.  The  younger  Teniers  has  a  guard- 
room, of  which  the  group  of  soldiers  in  the  back 
is  more  picturesque  than  the  pile  of  accoutrements 
heaped  around  a  big  drum  on  the  floor  in  the  fore- 
ground. His  pupil,  David  Ryckaert  III,  followed 
him  more  in  his  grotesques,  and  here  we  see  an 
example.  But  in  Teniers'  treatment  of  these  sub- 
jects the  subtleness  of  his  humour  always  redeems 
them  from  vulgarity  —  with  Ryckaert  these  scenes 
from  common  life,  ludicrously  presented,  are  often 
common  and  coarse. 

A  splendid  portrait  of  a  cleric,  signed  with  Diirer's 
monogram  and  dated  1516,  is  the  only  German  paint- 
ing in  this  room.  It  is  a  powerful  face,  with  keen 
eyes  and  strong,  compressed  lips,  giving  the  features 


XTbe  Collection  of  Count  Cserntn     263 

an  expression  of  firmness,  somewhat  relieved  by  a 
kindly  twitch  at  the  corners  of  the  mouth  and  around 
the  wide  nostrils. 

A  few  French  pictures  are  to  be  noted.  A  mag- 
nificent mythological  painting,  representing  the  find- 
ing of  Ulysses  by  Nausikaa,  is  by  Caspar  Poussin. 
Equally  forceful  is  the  "  Dream  of  Alkmene,''  by 
Alphonse  Dufresnoy,  whose  Italian  training  is 
apparent.  The  Claude  Lorrain,  which  we  see  here, 
is  not  of  great  importance.  Filippo  Lauri,  a  Roman 
painter  who  had  early  emigrated  to  France,  and 
is  at  his  best  in  mythological  subjects  and  bac- 
chanals, is  known  from  having  painted  the  figures 
in  Claude  Lorrain's  landscapes.  He  is  credited  with 
a  "  Preaching  of  John  the  Baptist,''  which  is  more 
likely  a  composite  production  whereof  Claude 
painted  the  landscape  part.  Two  pictures  of  beg- 
gars, assigned  to  Jacques  Callot,  only  known  as 
an  engraver,  are  from  the  hand  of  his  nephew  Jean. 
A  few  Italian  pictures  have  overflowed  to  this  room, 
but  these  are  of  little  importance.  Two  little  heads 
of  children  are  by  Lelio  Or  si  da  Novellara,  a  pupil 
of  Correggio,  who  was  highly  thought  of  by  con- 
temporaneous writers.  A  rather  weak  self-portrait 
is  of  Frederico  Barocci,  who  studied  under  Raphael, 
but  ended  in  imitating  Correggio,  whom  he  could 
never  equal  either  in  natural  grace  or  colouring. 
Examples  by  Annibale  Carracci  and  Michelangelo 


264     ^be  art  ot  tbe  IDtenna  Galleries 

da  Caravaggio  have  the  tendency  of  the  decadent 
stage  of  ItaHan  art. 

Turning  now  to  the  Gallery  to  the  right  of  the 
entrance  we  will  first  note  the  Spanish  paintings,  of 
which  there  are  not  many,  but  some  of  them  are 
exceptional  examples.  The  first  picture  that  catches 
our  eye  on  our  left,  at  the  side  of  the  door,  is  a 
most  charming  little  ''Sleeping  Child"  (Plate 
XLIV),  by  Murillo.  It  is  apparently  an  early  work, 
possibly  a  study  for  a  Christchild.  A  strong  Spanish 
type  is  furnished  by  Pedro  de  Moya,  of  Granada, 
who  exerted  great  influence  on  Murillo.  He  came 
from  the  school  of  Castillo  at  Seville,  and  is  one  of 
the  great  17th  century  Spanish  painters. 

Matteo  Cerezo,  a  pupil  of  Carreno  de  Miranda, 
ended  in  imitating  the  colour  of  van  Dyck,  but  never 
with  surpassing  success.  His  best  subject  was  the 
"  Penitent  Magdalene,''  of  which  there  are  examples 
in  the  galleries  of  The  Hague,  Madrid,  Berlin, 
and  in  the  Czernin.  Here  the  saint  is  repre- 
sented as  standing  in  devout  attitude  before  a 
crucifix. 

A  magnificent,  realistic  work  is  "  The  Blind 
Musician  with  his  Boy,"  by  Francisco  de  Herrera, 
el  Viejo.  It  is  a  typical  Spanish  character,  such  as 
Velasquez  and  Murillo  have  painted,  but  even  these 
never  surpassed  its  fervour  and  positiveness. 
Herrera  was  the  first  painter  of  Andalusia  who 


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Ube  Collection  ot  Count  Csernin     265 

discarded  the  old,  timid  style  of  painting,  and 
adopted  that  strong  and  bold  one  which  his  more 
famous  successors  refined.  He  was  a  man  of 
irritable  temperament  who  bore  a  bad  reputation, 
even  being  accused  as  a  false  coiner.  An  example 
of  Riberd  need  not  detain  us,  since  it  is  far  inferior 
to  his  work  in  the  Imperial  Museum  or  in  the 
Harrach  collection. 

The  remainder  of  the  paintings  in  this  room  are 
again  Dutch  and  Flemish.  The  portrait  of  an  old 
woman,  quietly  musing,  with  hands  folded  on  her 
lap,  is  scarcely  to  be  assigned  to  Rembrandt,  whose 
name  appears  on  the  tablet.  The  carmine  cap  is 
too  raw  for  the  master's  palette.  It  is  rather  a 
school-picture.  The  same  may  be  said  of  two  works 
that  go  under  van  Dyck's  name,  the  one  a  sketch 
of  Neptune,  the  other  a  nobleman  seated  in  an 
armchair.  The  portrait  of  a  man  of  fifty,  however, 
bears  undubitably  the  stamp  of  Rubens.  It  is  a 
fine  performance,  broadly  and  floridly  painted.  A 
portrait  painted  by  the  impressionable  Jan  Lievens, 
and  two  presentments  by  Bartolomeus  van  der  Heist, 
of  a  patrician  couple,  bear  the  stamp  of  Rembrandt's 
school  of  portraiture.  A  small  female  portrait, 
attributed  to  Terborch,  is  not  quite  up  to  his  mark, 
nor  is  it  even  of  sufficient  interest  to  tempt  a  search 
for  the  author. 

One  of  the  best  of  the  paintings  here  is  a  small 


266     Ube  art  of  tbe  IDienna  Galleries 

picture  of  a  ''  Smoker/'  by  Gabriel  Metsu.  It  is 
a  perfectly  natural  presentation  of  a  young  fellow 
with  a  broad  flap-hat  on  his  long,  black  curls,  lean- 
ing with  his  left  elbow  on  a  table  as  he  holds  his 
Gouda  pipe  between  his  lips.  He  is  dressed  in  the 
usual  costume  of  a  Dutch  artisan  of  the  time.  This 
little  picture  is  a  perfect  example  of  the  only  aim 
of  the  17th  century  Dutch  genre  painters  —  the  sin- 
cere portrayal  of  life  as  it  was.  With  keenness  of 
perception,  and  without  overloading  of  detail,  they 
rendered  a  record  of  the  life  about  them  with  the 
fidelity  of  the  historian.  Their  work  has  become  the 
best  of  chronicles,  whereby  the  appearance  of  Dutch 
life  in  the  17th  century  is  better  known  than  that 
of  any  other  country. 

A  typical  scene  of  the  kind  is  given  by  that  other 
historian  of  the  common  people,  Adriaen  Brouwer, 
who  depicts  a  barber-surgeon  examining  the 
wounded  arm  of  a  peasant-boy.  The  attentive, 
but  unfeeling,  half-smiling  expression  of  the  barber, 
who  gives  the  pain,  and  the  distorted  features  of  the 
yelling  youth  who  feels  it,  form  a  capital,  comical 
contrast.  A  few  characteristic  portrayals  of  a 
miser,  a  bag-pipe  player,  and  a  gypsy  telling  for- 
tunes to  a  young  swain,  are  by  Teniers.  An  inter- 
esting little  genre,  by  Cornelis  Dusart,  showing  a 
group  of  country  folk  before  a  cottage,  although 
less  fine  or  forceful  than  the  work  of  his  master 


Ube  Collection  of  Count  Cserntn     267 

van  Ostade,  is  still  full  of  homely  beauty  and 
charm. 

The  third  or  rear  Room  is  principally  devoted  to 
Italian  painters.  The  greatest  name  among  these 
is  Titian,  but  of  the  three  paintings  that  bear  this 
name  here  only  one  can  be  considered  genuine. 
This  is  the  superb,  heroic-size  portrait  of  Doge 
Andrea  Gritti,  in  his  official  robes,  wearing  the 
conical  shaped  Doge  cap.  It  is  a  broadly  painted, 
vigorous  work,  with  a  luminous  golden  tone. 

Of  special  interest  is  a  Giottesque  altarpiece, 
which  came  from  a  cloister  near  Padua.  The  life 
of  Christ  and  scenes  from  the  legends  of  Mary  are 
depicted  on  twenty- four  panels  and  eight  small 
medallions.  This  Trecento  fresco  is  an  apt  illus- 
tration of  the  revival  of  art  after  the  dark,  mediaeval 
struggles.  Although  bound  by  Gothic  convention- 
alities it  displays  already  imaginative  force  and 
invention. 

Another  Doge  portrait  is  variously  ascribed  to 
Tintoretto,  Moroni,  and  Veronese.  The  fact  that 
each  one  of  these  masters  has  been  recognised  speaks 
for  the  excellence  of  the  work,  the  true  author  of 
which  is  still  unknown.  It  well  serves  as  a  pendant 
to  the  Titian.  The  other  Italian  paintings  have  no 
great  names  inscribed  on  the  tablets.  They  furnish, 
however,  creditable  examples  of  the  lesser  men. 
Thus  we   find  a  good  head  of  Christ   from  the 


268     Ube  Hrt  of  tbe  IDfenna  Galleries 

Leonardo  school,  that  belongs  to  the  master's  closest 
imitator  Andrea  Salaino,  called  Andrea  da  Milano. 
It  is  the  only  Quattrocento  work. 

To  the  High  Renaissance  belong  a  few  Venetians. 
Two  pupils  of  Giovanni  Bellini  show  their  training. 
By  Rocco  Marconi  we  find  a  Madonna  similar  to 
his  Madonnas  in  Breslau  and  Strassburg,  although 
our  panel  is  falsely  signed  with  Bellini's  name. 
Of  Marco  Marziale,  whose  works  are  extremely 
rare,  there  is  a  **  Circumcision  of  Christ,"  in  half- 
figures,  which  is  exceedingly  rich  in  colour.  Jacopo's 
son,  Francesco  Bassano,  has  a  characteristic  work, 
"  The  Israelites  in  the  Desert."  A  **  Cleopatra," 
by  Alessandro  Varotari,  called  il  Padovanino,  and 
a  knight's  portrait  by  his  pupil  Pietro  della  Vecchio, 
show  plainly  their  slavish,  sometimes  shameless  imi- 
tation of  Giorgione  and  Tintoretto. 

The  "  Three  Graces,"  by  the  Bolognese  Francesco 
Primaticcio,  is  an  attractive  attempt  at  nude  paint- 
ing, in  which  we  may  detect  the  Raphaelesque  in- 
influence  of  grace  and  delicacy,  which  the  artist 
acquired  through  Giulio  Romano.  Primaticcio  is, 
however,  best  known  as  the  founder  of  the  16th 
century  Fontainebleau  school,  after  he  had  emi- 
grated to  France,  where  he  died. 

A  few  North  Italians  still  remain  to  be  considered. 
The  Veronese  Domenico  Riccio,  called  Brusasorci, 
or  the  rat-burner  —  the  name  is  difficult  to  explain 


XCbe  Collection  of  Count  Csernin     269 

' — was  the  first  purely  pictorial  artist  in  Italy,  not 
so  much  in  excellence  as  in  point  of  time.  We 
often  find  in  his  work  a  way  of  handling  contour, 
mass,  and  surface,  of  grouping  and  co-ordinating, 
even  a  dependence  upon  effects  by  brush  manipu- 
lations, that  is  as  modern  as  the  later  works  of 
Tiepolo,  or  of  some  artists  of  to-day.  This  is 
seen  in  a  **  Christ  crowned  with  Thorns,"  in  this 
room. 

The  sketchy  "Adoration  of  the  Shepherds,''  by 
Bernardino  Campi,  of  Cremona,  and  "  Abraham's 
Sacrifice,"  by  Cesare  Procaccini,  are  fair  examples 
of  second  rate  artists.  The  same  may  be  said  of 
a  "John  the  Baptist,"  by  Bartolomeo  Schedone, 
whose  pictures  are  very  rare,  his  best  work  being 
in  portraiture.  We  note  also  a  "  St.  Sebastian," 
by  Guercino  da  Cento,  an  "  Esther  before 
Ahasuerus,"  by  Domenichino  Zampieri,  and  an 
"  Adoration  of  the  Christchild,"  by  Battista  Dosso, 
in  which  Titian's  influence  is  paramount. 

The  remainder  of  the  space  in  this  room  is  taken 
by  a  few  pictures  of  other  schools.  A  scene  de- 
picting the  "  Horrors  of  the  Plague  "  is  by  Nicolas 
Poussin,  and  is  somewhat  florid  in  colouring. 
Sebastian  Bourdon,  of  whom  we  have  two  Biblical 
subjects,  followed  in  his  landscape  work  more  the 
heavier  style  of  Salvator  Rosa.  A  small  triptychon, 
with   the    "Birth   of    Christ,"    ascribed    to   Lucas 


270     XCbe  Hrt  of  tbe  IDienna  ©alleties 

Cranach,  is  more  likely  by  an  imitator.  An 
"  Adoration  of  the  Christchild "  is  an  exquisite 
product  of  the  charming  Adam  Elsheimer. 

A  variant  of  Rogier  van  der  Weyden's  "  Pres- 
entation in  the  Temple,"  now  in  the  Munich 
Pinakothek,  is  unduly  marked  with  the  great  name 
of  Jan  van  Eyck.  An  attractive  *'  Girl  Reading  " 
is  by  the  unknown  artist  who  goes  under  the  name 
of  the  Master  of  the  Female  Half -figures.  The 
"  Ecce  Homo,"  by  van  Dyck,  dates  from  his  Italian 
journey  and  Titian's  overwhelming  influence.  A 
"  Betrothal  of  Tobith,"  by  Caspar  de  Grayer,  is 
an  excellent  performance  by  a  man  who  may  well 
be  ranked  near  to  Rubens  and  Jordaens.  He  ex- 
celled in  the  correctness  of  his  drawing,  while  his 
colouring  is  refined  and  tender.  He  avoided  the 
suspicion  of  superfluity  and  ostentation  which  some- 
times adheres  to  the  work  of  Rubens. 

The  last  picture  that  attracts  our  attention  is  by 
Gornelis  Schut,  a  bright  star  who  shone  in  the 
Rubens  constellation.  His  **  Holy  Family "  in  a 
wooded  landscape  is  a  vigorous,  forceful  present- 
ment, although  the  figures  do  not  possess  the  grace 
and  unction,  nor  any  of  the  spiritual  feeling  which 
we  would  associate  with  the  subject. 


CHAPTER   X 

THE    COLLECTION    OF    COUNT    VON    HARRACH 

A  SERIES  of  three  galleries,  with  excellent  top- 
light,  and  a  number  of  cabinets,  contain  the  paintings 
of  the  Harrach  collection,  which  excels  in  the  work 
of  Spanish  masters.  A  number  of  paintings  from 
other  schools  are,  however,  of  equal  interest. 

In  the  First  Gallery  we  note  an  altarpiece,  with 
a  Crucifixion  on  the  centre  panel,  and  saints  on  the 
sidewings,  which  bears  the  unmistakable  traits  of 
Quentin  Massys  —  a  less  mystic  and  more  realistic 
presentation  of  the  subject  than  had  heretofore  been 
seen  in  Flanders.  His  great  contemporary,  Jeroen 
Bosch,  was  even  more  realistic,  as  we  note  in  one 
of  his  most  characteristic  pieces,  "  The  Entrance  of 
Hell/'  This  man  had  a  most  original  conception  of 
the  grotesque,  which  he  applied  to  the  portrayal  of 
the  nether-world.  His  collection  of  imps,  demons, 
were-wolves,  satyrs,  witches,  tricksies,  and  devils 
is  of  the  weirdest  and  most  fantastic  creation. 

One  of  the  most  celebrated  paintings  of  the 
Harrach  collection  is  "  The  Concert ''  (Plate  XLV), 

271 


272     Zbc  Hrt  ot  tbe  IDienna  (Balleries 

by  the  Master  of  the  Female  Half -figures.  These 
maidens,  two  playing  the  flute  and  mandolin,  and 
accompanying  the  third  in  her  song,  are  delicately 
and  gracefully  presented,  and  form  the  finest  known 
work  of  this  Flemish  or  lower  Rhenish  master. 

Some  of  the  early  Flemish  paintings  here  are  a 
"  Baptism  of  Christ "  and  a  ''  Lamentation  of 
Christ,"  by  Marten  de  Vos,  one  of  the  16th  century 
Flemish  painters  who  gave  evidence  of  the  natural 
tendency  of  that  school  to  fall  under  Italian  thral- 
dom. Indeed,  the  Flemish  school  was  only  tem- 
porarily rescued  from  that  fate  by  Rubens  and  his 
circle,  for  after  the  Rubens  period  it  finally  suc- 
cumbed to  a  complete  loss  of  individuality.  And 
de  Vos  gives  already  indications  of  the  loosening 
of  the  bonds  of  nationalism.  He  truly  followed 
the  later  Italians,  notably  Tintoretto,  in  a  striving 
after  contrasts  of  attitude  and  movement,  although 
he  possessed  an  individual  feeling  for  landscape, 
which  had  local  colour,  and  did  not  serve  it  in  the 
conventional  way  of  his  predecessors. 

One  of  the  fine  flowerpieces  for  which  Velvet 
Breughel  is  famous  forms  the  transition  to  the  17th 
century,  when  for  three  score  years  the  art  of 
Flanders  had  a  truly  national  character.  Of  Jacob 
Jordaens  we  note  a  powerful  *'  St.  Christopher," 
albeit  a  sketch,  which  has  Rubenesque  strength. 
Equally  savouring  of  the  Rubens  studio  is  an  alle- 


MASTER    OF 
THE  FEMALE 
HALF -FIGURES 


THE    CONCERT 

Plate  XLV 


Von 

Harrach 

Collection 


Ube  Collection  of  Count  von  ibarracb  273 

gorical  presentation  of  the  Genius  of  Painting 
attended  by  Fame,  from  the  brush  of  Frans 
Francken  the  Younger.  A  contemporaneous  copy 
of  one  of  the  many  Gallery-pictures  which  David 
Teniers  painted  for  the  Archduke  Leopold  Wilhelm 
is  here.  The  original  is  in  the  private  collection 
of  Baron  Nathaniel  Rothschild,  of  Vienna.  We 
must  still  note  the  '*  Plundering  of  a  House  by 
Robbers,''  by  David  Ryckaert  III;  a  turbulent 
marine,  by  Bonaventura  Peeters;  one  of  the  Bac* 
chanalian  scenes  in  which  Cornelis  Schut  was  at  his 
best;  and  a  fine  fruitpiece,  with  grapevines,  by 
Jan  Fyt. 

The  17th  century  Dutch  school  is  not  strongly 
represented  in  this  room.  Salomo  Koninck  and 
Govaert  Flinck,  by  whom  we  find  portraits  here, 
were  close  imitators  of  Rembrandt.  Michiel  Sweerts, 
who  flourished  in  the  middle  of  the  century,  has 
an  interior  with  card-playing  peasants,  in  the  style 
of  van  Ostade.  The  strongest  work  is  a  Norwegian 
landscape  by  Allert  van  Everdingen;  while  the 
landscape  with  cattle,  by  Dirk  van  Bergen,  has  the 
weakness  of  imitation,  for  he  followed  closely  his 
master,  Adriaen  van  de  Velde.  We  find  also  a 
creditable  marine  by  the  rare  Abraham  Storck,  and 
a  natura  morte  by  Willem  Claesz.  Heda. 

Three  little-known  Germans  must  still  be  men- 
tioned.    One  is  Georg  Pencz,  who  worked  under 


274     Ube  Hrt  of  tbe  IDienna  Galleries 

Diirer's  influence.  He  illustrates  an  old  story,  in 
which  the  daughter  of  Ugolino  nourishes  from  her 
breast  her  old  father  who  is  imprisoned  and  con- 
demned to  starvation.  This  painting  is  dated  1546, 
and  it  is  curious  that  sixty  years  later  Rubens 
painted  the  same  scene  under  the  title  "  Cimon  and 
Pera,"  which  painting  hangs  now  in  the  Ryks- 
museum.  A  picture  which  bears  the  title  **  Preach- 
ing of  Hieronymus  Huss ''  is  by  Jacob  Seisenegger,  i 
a  Viennese  artist  who  slavishly  imitated  Titian.  A 
Bavarian  artist  of  the  17th  century,  Hans  Weiner, 
who  lived  most  of  his  life  in  Paris,  has  two  small 
allegorical  compositions  in  the  form  of  processions, 
indicating  War  and  Peace. 

In  a  small  cabinet  leading  from  this  gallery  we 
find  some  late  Italian  paintings,  among  which  we 
only  note  an  "  Adoration  of  the  Shepherds,''  by 
Jacopo  Palma  Giovine,  in  Tintoretto's  style;  and 
a  fine  idealic  landscape,  by  Francesco  Albani,  who 
was  from  the  school  of  the  Carracci,  and  was  ex- 
ceedingly popular  in  his  day,  being  called  the  Ana- 
creon  of  Painting.  This  landscape  contains  a  nude 
figure,  who  is  being  spied  upon  by  cupids  hiding 
among  the  trees  and  in  the  flowery  sward  as  she  is 
about  to  recline  on  a  couch,  while  in  the  distance 
a  youth  rushes  to  and  fro  in  search  of  his  love. 

The  Second  Gallery  is  devoted  to  Italian  and 
French  artists.    Besides  a  number  of  school-pictures 


xrbe  Collection  of  Count  von  Ibarracb  275 

we  find  a  small  "  Madonna/'  by  Ghirlandajo's  pupil 
Domenico  Puligo.  A  large  ''Adoration  of  the 
Christchild ''  is  by  Messer  Niccolo,  as  Niccolo  dell' 
Abbate  was  called.  This  artist  worked,  about  1550, 
under  Pellegrini,  but  accompanied  Primaticcio  to 
France,  where  he  died.  The  clever  imitator  of 
Correggio,  Girolamo  Bedoli-Mazzola,  of  Parma,  has 
a  smoothly  painted  Madonna  with  the  Child  and  the 
little  John,  in  which  the  artist's  characteristic  affec- 
tation in  drawing  the  figures  and  the  expression  of 
the  faces  must  be  observed. 

By  Marco  Basaiti,  the  rival  in  Venice  of  Giovanni 
Bellini,  there  is  a  small  Madonna,  which  indicates 
the  transition  of  the  best  of  the  ISth  century  to 
the  High  Renaissance  of  the  16th.  His  simplicity 
and  grace  are  charming;  his  colouring,  both  in 
figure  and  landscape,  is  clear  and  brilliant. 

But  the  16th  century  is  but  poorly  shown  here. 
The  *'  St.  Magdalene,"  by  Girolamo  Muziano,  of 
Brescia,  has  all  the  qualities  of  his  provincialism, 
and  may  be  regarded  as  an  echo,  and  truly  a  faint 
one,  of  Titian.  The  large  ceiling  painting,  depicting 
the  "  Temptation  of  St.  Anthony  Abbas,"  by 
Domenico  Tintoretto,  clearly  proves  the  folly  and 
futility  of  attempting  what  is  beyond  one's  strength. 
It  is  patent  that  the  artist  sought  to  emulate  his 
father's  grandiose  conceptions,  in  which  he  signally 
failed.    There  is  a  lack  of  balance,  an  unsatisfying 


276     XTbe  art  of  tbe  IDfenna  ©alleries 

dismemberment  of  the  composition,  and  a  conspicu- 
ous defect  in  fore-shortening  of  which  the  older 
man  would  never  have  been  guilty.  Some  critics, 
nevertheless,  enthusiastically  give  this  painting  to 
Jacopo,  which,  to  say  the  least,  is  an  insult  to  the 
memory  of  his  great  talents. 

The  younger  Palma  was  of  the  same  type  as  the 
younger  Tintoretto,  and  his  "  Pieta,''  with  a  num- 
ber of  figures,  although  ambitious,  only  recalls  the 
great  masters  and  displays  the  weakness  of  the 
artist.  A  Carlo  Maratta,  ''Rest  on  the  Flight  to 
Egypt,''  and  several  compositions  by  Solimena 
further  declare  the  character  of  late  Italian  work 
in  its  pleasing  but  truckling  aspect.  The  archi- 
tectural painter  Giovanni  Paolo  Panini  has  a  well- 
drawn  view  of  Roman  ruins.  The  18th  century 
artist  Pompeo  Batoni  has  a  tame  performance  in 
his  *'  Susannah  and  the  Elders.''  He  was  far 
better  in  his  portraiture. 

There  are  several  good  works  among  the  French 
paintings  in  this  Gallery.  The  great  landscapists 
Nicolas  and  Gaspard  Poussin  and  Claude  Lorrain 
are  represented  by  excellent  works,  which  indicate 
eyes  opening  to  the  beauties  of  nature,  although 
still  bound  by  classic  traditions.  Laurent  de  la 
Hire,  the  protege  of  Richelieu,  displays  his  allegiance 
to  the  Italian  art  of  the  previous  century,  and  this 
is  also  evident  in  the  "  Massacre  of  the  Innocents," 


Ube  Collection  of  Count  x>on  Dattacb   277 

by  Eustace  le  Sueur.  Jacques  Courtois  leaned  more 
towards  Rubens,  both  in  colour  and  energy  of  draw- 
ing, as  noted  in  his  ''  Battle  with  the  Turcs/' 
Frangois  de  Troy  was  a  portrait  painter  of  aristo- 
cratic mien,  whose  portraits  of  men,  hanging  here 
on  both  sides  of  the  door,  have  elegance  and  grace. 
He  was  even  more  pleasing  as  a  women's  painter. 

Claude  Joseph  Vernet  was  as  sincere  in  his  land- 
scape and  cattle  painting,  of  which  we  find  two 
examples,  as  Chardin  was  in  genre.  These  two 
men  formed  the  transition  in  French  art  from  the 
Watteau  and  Fragonard  period  to  the  classicism  of 
David  and  Ingres.  We  must  yet  note  a  "  Holy 
Night,"  by  Anton  Raphael  Mengs,  the  father  of 
German  classicism,  who,  being  an  Italianised  eclectic, 
knew  beauty  only  at  second  hand. 

The  Third  Gallery  offers  a  few  more  examples  of 
the  later  Italians,  notably  of  Lodovico  Carracci, 
Michelangelo  da  Caravaggio,  Salvator  Rosa,  and 
Canaletto.  The  most  interesting  paintings,  how- 
ever, are  the  Spanish  pictures  we  meet  here. 

A  Spaniard  by  adoption  was  Bartolomeo 
Carducho,  who  painted  much  in  the  Escorial. 
His  Tuscanian  training  of  expressiveness  is  com- 
bined with  the  racial  trait  of  deep  colouring  in  a 
*'  Crowning  with  Thorns.''  Francesco  Pacheco,  the 
first  noted  painter  of  the  Andalusian  school,  of 
which  Murillo  was  to  become  the  greatest  ornament, 


278     Ube  Hrt  ot  tbe  IDtenna  ©alleries 

is  seen  here  in  a  temple- festival  dedicated  to  Venus. 
It  has  less  of  the  general  ascetic  feeling  that  per- 
meates early  Spanish  art,  and  plainly  points  to  the 
source  whence  his  greatest  pupil  and  son-in-law, 
Velasquez,  drew  his  feeling  for  humanism. 

The  noblest  works  here  are  by  Joseph  de  Ribera, 
lo  Spagnoletto,  the  artist  of  Valencia.  The  best 
one  of  the  half  dozen  examples  is  the  portrait  of  a 
man,  holding  a  golden  goblet.  When  still  a  youth 
Ribera  arrived  in  Italy  where  he  was  fascinated 
by  the  style  of  Caravaggio.  On  his  return  to  Spain 
he  introduced  the  violent  illumination  of  the  Italian, 
and  his  intense  realism,  which  sometimes  betrays 
a  sort  of  instinctive  ferocity.  It  found  a  congenial 
soil,  and  it  cannot  be  denied  that  the  influence  which 
Ribera  exerted  has  never  been  quite  lost,  and  may 
be  traced,  through  Goya,  to  Zuloaga  and  other 
modern  Spanish  painters.  Ribera  took  pleasure  in 
the  rendering  of  martyrdoms,  of  beggars,  and  old 
men  with  deep  wrinkles.  But  his  types  are  nobler 
and  his  drawing  is  better  than  in  the  work  of  the 
Neapolitan  master. 

We  may  pass  hastily  through  the  cabinets  running 
along  the  left  side  of  these  galleries,  where  we  find 
a  diversified  assortment  of  smaller  paintings  from 
various  schools.  We  must  halt,  however,  in  the  fifth 
cabinet  to  note  an  exceedingly  rare  little  panel  from 
a  17th  century  Spanish  painter,  Juan  de  Cordua. 


XTbe  Collection  of  Count  von  ftattacb    279 

This  old  woman  weighing  coins  is  painted  with  the 
care  and  deHcacy  for  which  some  of  the  Dutch 
Little  Masters  are  noted. 

A  small  room  at  the  end  of  the  third  gallery 
contains  the  jewels  of  the  collection,  from  which  we 
will  first  select  the  Spaniards.  Truly  the  most 
impressive  are  the  two  life-size  royal  portraits,  by 
Juan  Carrefio  de  Miranda.  One  is  a  portrait  of 
Charles  II,  the  last  of  the  Habsburg  Kings,  in  regal 
robes  and  Spanish  hood,  the  crown  lying  on  a  table 
at  his  side.  It  is  a  dignified,  if  not  forceful  pre- 
sentation. The  other  portrait  is  of  the  widow  of 
Philip  IV,  Donna  Maria  Anna  of  Austria,  in  the 
dress  of  an  abbess.  The  first  impression  of  this 
spectrelike  appearance  is  startling.  Her  white  bod- 
ice is  completely  enveloped  by  the  long  black  robe; 
and  the  pale,  delicate  face,  bandaged  with  white,  and 
surrounded  by  the  heavy  black  veil  that  reaches 
down  to  the  feet,  peers  out  with  a  sad  expression. 
But  gradually  the  refinement  of  the  features  and 
the  stately  dignity  of  the  pose,  as  well  as  the  kindly, 
though  sorrowing  look,  awaken  human  interest,  and 
we  gaze  with  sympathy  on  the  image  of  one  whose 
life  was  sad,  and  who  sought  peace  in  ascetic  devo- 
tion. Carrefio  was  one  of  the  17th  century  Spanish 
artists  who  followed  more  the  gentle  style  of  his 
contemporary,  Murillo,  than  the  more  forceful  ex- 
pression of  Ribera.    His  was  grace  of  thought  and 


28o     XCbe  art  of  tbe  1J)fenna  Oallcvics 

knowledge  of  execution.  The  tenderness  and 
suavity  of  his  colour  he  owed  more  to  the  study 
of  van  Dyck  than  to  the  all-pervading  influence  of 
Velasquez.  He  ranks  in  the  special  direction  of  his 
talents  surely  next  to  Murillo. 

Of  this  latter  master  there  are  no  examples  here. 
Two  works,  attributed  to  him,  a  "  Crucifixion  ''  and 
a  biblical  presentation  of  Esau  selling  his  birthright 
to  Jacob,  may  scarcely  be  connected  with  his  name. 
Equally  dubious  is  the  ascription  of  the  portrait  of 
a  bishop  to  Zurbaran.  The  work  is  too  insignificant 
to  have  come  even  from  this  weak  imitator  of 
Caravaggio. 

The  earliest  portrait  here  is  also  the  finest  work 
in  Vienna  by  its  author,  Alonso  Sanchez  Coello,  who 
was  called  the  Portuguese  Titian.  This  is  a  por- 
trait of  Queen  Isabella.  It  is  regal  in  appearance, 
rich  in  colour,  and  with  brilliant  light-effect. 

The  place  of  honour  is  given  in  this  Tribuna  to 
a  portrait  of  a  four  years  old  Infante,  by  Velasquez. 
The  child  stands  at  the  side  of  a  velvet-covered 
table,  his  little  pet-dog  nestling  on  the  floor  at  his 
feet.  A  hilly  landscape  is  seen  on  the  right. 
Although  parts  of  this  painting  must  be  conceded 
to  be  students'  work,  we  cannot  deny  the  master's 
own  hand  in  the  wonderful  vitality  of  the  little  head 
with  its  sparkling  eyes.  Nearby  hangs  the  bust  por- 
trait of  a  young  man,   in  a  simple  doublet  with 


XCbe  Collection  of  Count  von  Ibatracb   281 

Spanish  lace  collar,  which  is  an  early  work  of  the 
great  master. 

Of  the  later  17th  century  painters  we  find  still 
a  strong  and  energetically  composed  battlepiece  by 
the  great  painter  of  battles  and  seascapes,  Juan  de 
Toledo,  who  had  studied  in  Naples  and  Rome.  A 
small  panel  by  Juan  de  Alfero  y  Gomez,  of  Cordova, 
depicts  a  man  kneeling  before  a  crucifix.  This 
pupil  of  Velasquez  was  unfortunately  always  care- 
less in  his  design,  but  excelled  as  a  colourist.  The 
greyish  olive  tone  of  this  little  picture  is  exquisitely 
charming. 

The  remaining  choice  pictures  in  this  Salon 
Carre  are  from  various  schools.  An  important  work 
is  by  Bernardino  Luini.  It  represents  St.  Jerome 
at  the  entrance  of  his  cave,  kneeling  on  one  knee, 
and  gazing  in  adoration  at  an  ivory  crucifix  which 
he  holds  in  his  left  hand.  His  elbow  rests  on  a  rock 
that  serves  as  a  table,  on  which  an  open  book  directs 
the  saint's  devotions.  A  beautiful  landscape,  bathed 
in  sunlight,  stretches  to  the  background  on  the  left 
of  the  picture.  The  figure  of  the  saint  comes  out 
in  strong  illumination  against  the  dark  mouth  of 
the  cave.  The  work  is  important  because  it  demon- 
strates in  the  most  characteristic  manner  the  exact 
artistic  standard  of  the  artist.  It  is  gentle,  sweet, 
attractive,  but  it  lacks  intellectuality  of  presentation 
which  is  vapid  and  commonplace,  and  bores  by  its 


282     Zbc  art  of  tbe  IDienna  ©allerfes 

lack  of  suggestiveness.  Luini  was  a  painter  of 
prettiness  —  which  is  the  worst  that  can  be  said 
of  any  painter. 

The  great  name  of  Rembrandt  is  affixed  to  a 
strong  work  of  his  last  years.  It  shows  an  **  Old 
Man  Praying,"  and  is  signed  and  dated  1661.  The 
old  man,  with  thick  grey  hair  and  large  grey  beard, 
wearing  a  full  greyish  violet  mantle,  sits  with  half- 
closed  eyes  before  a  large  book  that  lies  open  on  the 
table.  The  figure  is  life-size,  half-length,  and  is 
broadly  painted  with  all  the  characteristic  light- 
effect.  The  painting  came  originally  from  Schloss 
Rohrau,  and  has  been  fully  accredited  and  listed 
by  Bode  in  his  work  on  Rembrandt  (Bode  No.  594). 

The  portrait  of  a  noble  lady,  the  niece  of  the  Duke 
of  Nivernois,  bears  equally  the  stamp  of  Rembrandt, 
although  it  is  one  of  the  least  pleasing  of  his  female 
portraits.  Despite  the  beauty  of  light  and  rich- 
ness of  colour  there  is  a  certain  stiffness  in  the 
attitude  which  is  distinctly  disagreeable.  Neither 
is  the  face  in  its  supercilious,  proud  expression  very 
attractive. 

Connected  with  the  art  of  Rubens,  if  not  by  his 
own  hand,  is  a  group  of  nine  heads  of  outlandish 
people  —  moors  and  cossacks.  A  sketch  of  a 
*'  Lamentation  of  Christ ''  bears  the  characteristics 
of  van  Dyck,  but  it  is  not  important.  The  portrait 
of  a  lady,  looking  down,  in  sumptuous  costume  with 


Ube  Collectton  ot  Count  von  Ibarracb   283 

lace  collar,  formerly  ascribed  to  van  Dyck,  is  by 
the  far  more  sincere  portrait  painter  Cornelis  de 
Vos.  A  good  male  portrait  is  by  Frans  Pourbus,  in 
his  exact  style  and  painstaking  method;  and  the 
profile  of  an  old  woman,  by  the  Utrecht  painter 
Abraham  Bloemaert,  serves  as  a  good  pendant, 
for  it  is  equally  stilted.  A  few  early  pictures,  for 
which  names  like  Gerard  David,  the  Master  of 
Flemalle,  and  Bernard  van  Orley  are  suggested, 
are  interesting  examples. 

We  find  here  also  a  typical  early  German 
portrait  by  Bartholomaeus  Zeitblom,  the  most  im- 
portant artist  of  the  Ulm  school.  This  lean,  beard- 
less man  is  typical  of  the  characters  this  simple, 
straightforward  painter  was  in  the  habit  of  drawing. 
One  of  Holbein's  contemporaries,  Christopher 
Amberger,  a  vigorous  and  penetrating  portrait 
painter,  is  the  author  of  a  portrait  of  an  elderly 
man  with  a  long  beard. 

The  portrait  of  Count  Ferdinand  Bonaventure 
Harrach,  to  whose  connoisseurship  we  owe  the  best 
part  of  this  collection,  is  by  Hyacinthe  Rigaud,  the 
court-painter  of  Louis  XIV.  It  is  an  impressive 
performance,  with  its  ponderous,  curly  wig  and  fine 
lace  jabot.  The  features,  also,  are  painted  with 
greater  vigour  and  more  expressiveness  than  Rigaud 
was  wont  to  bestow,  making  this  an  exceptionally 
good  work. 


CHAPTER   XI 

THE  COLLECTION  OF  COUNT  SCHONBORN-BUCHHEIM 

In  the  stately  old  palace  of  Count  Schonborn, 
in  Alt  Wien,  we  find  the  collection  of  his  paintings 
displayed  in  three  large,  richly  furnished  salons. 
The  crowded  condition  of  the  walls  —  the  room 
is  fifteen  feet  high  and  the  paintings  reach  to  the 
ceiling  —  and  the  poor  light  from  windows  that 
open  upon  a  narrow  street,  interfere  with  the  close 
examination  and  unalloyed  enjoyment  of  a  number 
of  the  paintings  that  are  worthy  of  a  better  fate. 
We  will  select  the  most  important  canvases  for 
our  study. 

In  the  First  Salon  we  note  an  immense  canvas 
that  gives  an  allegorical  presentation  of  the  gods 
of  the  sea.  Neptune,  Amphitrite,  and  many  other 
aqueous  deities  display  before  Mercury  and  Amor 
the  riches  of  the  ocean's  depths,  fishes,  pearls, 
corals  and  numberless  sparkling  treasures.  Women, 
representing  the  nations  that  draw  their  wealth 
chiefly  from  the  waters,  especially  the  rich  inhabit- 
ants of  the  city  of  Antwerp,  bear  witness  in  this 

284 


Scbbnbotn^^Bucbbeim  Collection      285 

opulent  scene,  such  as  the  fertile  fancy  and  exu- 
berant brain  of  a  Rubens  might  have  invented.  It 
may,  therefore,  v^ell  be  regarded  as  a  masterpiece 
of  its  author,  Jacob  Jordaens,  v^ho  made  the  design 
and  painted  the  figures,  while  the  still-life  and  fur- 
ther accessories  were  painted  by  Jakob  van  Es. 

A  painting  by  Ferdinand  Bol,  "  Hagar  being 
comforted  by  the  Angel  in  the  Desert,''  is  a  master- 
piece of  this  pupil  of  Rembrandt,  who  is  better 
known  as  a  portrait  painter.  Unfortunately  he 
changed  his  style  in  his  later  years  by  mistakenly 
following  Rubens.  There  is,  however,  no  evidence 
of  this  in  the  picture  before  us,  which  excels  in 
chiaroscuro.  A  large  landscape  is  by  Jan  Wynants, 
truly  realistic  in  its  natural  appearance.  It  is  of 
the  artist's  latest  years  and,  although  not  remarka- 
ble in  colour,  impresses  one  by  its  light-effect  and 
aerial  perspective.  A  company  of  ladies  and  gen- 
tlemen consulting  a  gypsy  fortune-teller  is  a  viva- 
cious tableau  by  J.  A.  Duck. 

The  early  Dutchman,  Maarten  van  Heemskerck, 
made  the  Italian  journey  in  middle-age,  and  de- 
voted himself  especially  to  the  study  of  Michel- 
angelo. The  mythologic  and  classic  subjects  which 
he  thereafter  produced  were  never  popular  in 
Holland,  and  have  all  been  dispersed  away  from 
his  native  country,  with  the  exception  of  one  in 
the  Ryksmuseum.     A  fine  example  here  depicts  a 


286     Ube  Hrt  of  tbe  Dienna  Oalleries 

Roman  landscape,  with  the  temple  of  Saturn  in 
the  Forum  and  the  Flavian  Amphitheatre. 

Although  Jacob  Gerritsz.  Cuyp  is  known  in  the 
Netherland  galleries  only  as  a  portrait  painter,  he 
also  essayed  the  rich,  colourful  life  of  nature,  and 
frequently  loved  scenes  of  stirring  activity.  Such 
a  one  we  find  in  the  large  cavalry  battle  ascribed 
to  him,  which,  despite  its  narrow  colour-gamut  — 
only  brown  and  yellow  tones  —  still  has  a  scintilla- 
ting glow.  Another  military  piece  is  by  Esaias  van 
de  Velde,  who  pictures  the  "  Siege  of  s'Hertogen- 
bosch  by  Prince  Frederik  Hendrik.''  It  has  an 
intimate,  local  atmosphere,  of  picturesque  setting. 
Two  portraits,  said  to  represent  the  Electors  of 
Saxony  of  the  Reformation  period,  Frederick  the 
Wise  and  Johann  Frederick,  were  painted  by  Lucas 
Cranach,  the  Elder. 

The  Second  Salon  offers  equal  variety.  One  of 
the  most  attractive  paintings  in  the  collection  is  a 
"St.  Catharine"  (Plate  XLVI),  by  Carlo  Dolci. 
Although  this  artist's  work  generally  cloys  by  being 
oversaturated  with  sentimentality,  we  find  in  this 
beautiful  work  the  great  skill  of  the  painter  assert- 
ing itself  sufficiently  to  overcome  his  customary 
weakness.  The  perfection  of  its  craftsmanship,  of 
its  drawing,  its  light-effect,  and  the  wonderful 
colour  harmony  of  the  blue  and  purple  shot-silk 
dress,  is  heightened  by  its  grace  and  charm.     A 


Scbonborn^'JBucbbefm  Collection      287 

half-length  figure  of  Diana  belongs  to  the  same 
eclectic  school,  and  is  supposed  to  be  the  work  of 
Guido  Reni.  A  view  of  Konigstein  in  Saxony, 
charming  in  its  architectural  construction  and  har- 
monious colouring,  is  by  Canaletto. 

Branching  off  to  the  German  school  we  meet 
with  a  splendidly  painted  portrait  of  a  man,  by 
Hans  Holbein  the  Younger.  The  strongly  marked 
features  give  it  an  individual  expression,  while  the 
fur-bordered  black  cloak,  lighted  up  with  the  collar 
of  a  white  shirt,  the  sea-blue  background  and  the 
deep-green  table  cover  form  an  harmonious  com- 
bination. 

Then  we  pass  again  to  the  Dutchmen,  and  find 
two  genres  in  the  punctilious  method  which  Dou 
first  introduced.  The  one  by  Kaspar  Netscher  is 
a  rather  unusual  composition  for  Protestant  Hol- 
land, for  we  see  a  woman  kneeling  before  an  altar 
on  which  stand  a  crucifix  and  sacred  cup.  She  is 
deeply  engrossed  in  passing  her  beads.  In  the 
distance  a  priest  and  two  deacons  are  seen  cele- 
brating the  mass.  Only  from  internal  evidence  — 
its  fine  brush-work,  colour  and  drawing  —  can  we 
give  this  little  panel  to  its  reputed  author.  A 
"  Surprised  Letter-writer ''  is  by  Gabriel  Metsu, 
and  is  painted  with  a  precise  but  not  finical  brush, 
which  lovingly  lingered  over  the  textures  of  a  gown 
and  table-carpet.     We  are  also  able  to  see  two  good 


288      Zbc  Btt  of  tbe  IDfenna  Oalletfes 

portraits  of  men  by  Jacob  Gerritsz.  Cuyp,  whose 
battlepiece  we  have  already  admired  in  the  first 
room.  A  magnificent  river  view  of  the  Maese, 
near  Dordrecht,  by  Jan  van  Goyen,  has  the  full 
stretch  and  sweep  of  landscape  with  hazy  atmos- 
phere for  which  this  master  is  noted.  It  puts  the 
''  Storm  at  Sea,"  by  Ludolf  Backhuyzen,  the  later 
marine  painter,  on  a  much  lower  plane. 

The  only  Flemish  picture  of  note  here  is  a  mas- 
terpiece by  Gonzales  Coques,  a  creditable  follower 
of  van  Dyck.  His  usual  "  polite  conversation " 
pieces  cannot  compare,  however,  with  the  serious 
portrayal  of  this  scholar  sitting  in  his  much-littered 
study.  Although  manifestly  a  portrait,  we  are 
most  attracted  by  the  careful  painting  of  the  de- 
tails and  accessories. 

The  Viennese  certainly  appreciated  the  Breughel 
family  of  painters,  for  as  we  enter  the  Third  Salon 
we  stand  before  a  masterpiece  of  Jan  Breughel  the 
Elder,  called  Velvet  Breughel.  That  velvety  touch, 
which  gave  him  his  cognomen,  lies  over  all  this 
crowded  '*  Village  Kirmess."  Throngs  of  people 
swarm  upon  the  square  before  the  church  and  to- 
wards the  river  brink.  Gay  parties  are  setting 
out  in  boats.  The  stream,  meandering  in  sinuous 
curves  through  the  meadows,  is  lost  in  the  dis- 
tance, but  gleams  like  a  band  of  gold  in  the  bright 
rays  of  the  sun.     The  bluish  tone,  peculiar  to  this 


ScbonbornssJBttcbbeim  Collection      289 

artist,  enhances  the  brilHancy  of  the  colours  with 
a  harmony  both  suave  and  striking. 

A  splendid  sketch  of  the  head  of  a  bearded  man, 
by  Rubens,  must  have  served  as  a  study  for  one 
of  the  heads  that  appear  in  the  '*  Lion  Hunt ''  of 
the  Dresden  Gallery.  A  ''  Holy  Family,''  by  van 
Dyck,  bears  strong  traits  of  Titian's  influence. 
The  Child  in  its  mother's  arms  refuses  for  a  mo- 
ment the  breast,  as  it  listens  to  the  voices  of  the 
cherubs  that  flutter  in  the  sky.  Joseph  looks  with 
astonishment  from  the  book  which  he  has  been 
reading.  The  tone  of  the  beautiful  blue  mantle 
around  the  shoulders  of  the  Madonna  is  that  which 
van  Dyck  most  .favoured  during  this  middle  period 
of  his  career. 

Adriaen  Brouwer  has  here  one  of  his  inimitable 
surgical  operations,  where  the  grotesque  sufferings 
of  the  patient  conduce  more  to  hilarity  than  sym- 
pathy. A  "  Picture  Gallery,"  by  Frans  Francken, 
is  in  the  style  of  Teniers.  A  beautiful  interior  of 
the  Antwerp  cathedral,  with  all  its  architectural 
magnificence,  is,  of  course,  from  the  brush  of 
Pieter  Neeffs.  A  group  of  interiors  by  the  Dutch 
genre  painters  forms  an  historical  chapter  of  social 
life.  Gerard  Dou  has  painted  the  dark  study  of 
an  astronomer  peering  over  his  world-globe.  The 
only  illumination  is  the  light  of  a  candle,  with  the 
same  marvellous,  revealing  shadows  as  seen  in  the 


290     xrbe  Hrt  of  tbe  IDienna  ©alleries 

master's  famous  *'  Evening  School,"  in  Amsterdam. 
As  a  pendant  serves  the  *'  Laboratory  of  an  Alche- 
mist," by  Thomas  Wyck,  who  in  his  interiors  re- 
tained the  national  characteristics  of  sincerity  and 
truthfulness,  but  whose  landscapes  were  thoroughly 
Italianised.  Another  interior  by  Wyck  shows  a 
peasant  family  at  dinner,  and  is  a  genuine  portrayal 
of  the  life  of  the  people. 

Two  of  Don's  pupils  contribute  to  make  the  tale 
varied.  Pieter  van  Slingelandt,  of  whom  it  was  said 
that  he  spent  four  years  to  paint  a  lace  jabot,  has  one 
of  his  rare  works  here.  It  relates  the  comedy  of  a 
dragoon,  quartered  in  a  farmhouse,  who  makes  love 
to  the  buxom  dairy-wench,  at  which  the  old  peasant 
shuts  his  eyes,  but  which  greatly  excites  the  young 
swain  who  seeks  to  protest  against  such  familiarity. 
The  mechanical  finish  and  conventional  attitudes  are 
not  refreshing.  Some  beautiful  landscapes  and  ma- 
rines are  to  be  noted  from  Jan  van  Goyen,  Cornelis 
Herman  Saftleven,  Julius  Porcellis,  Hendrik  Dub- 
bels,  and  two  early  works  by  Jacob  van  Ruisdael. 

The  finest  work  of  the  collection  is  a  masterpiece 
by  Rembrandt.  This  is  the  famous  ''  Blinding  of 
Samson,"  of  which  the  Cassel  Gallery  possesses  a 
good  old  copy.  The  painting  is  a  marvellous  ex- 
ample of  Rembrandt's  chiaroscuro,  with  its  play  of 
light  and  shadow,  in  which  dark  waves,  shaded, 
deepened,  thickened,  revolve  around  bright  centres 


Scbonborn:*Bucbbeim  Collection      291 

which  are  thereby  made  to  appear  more  distinct  and 
radiant;  and  yet,  in  which  the  darkness  is  trans- 
parent, the  half-darkness  easy  to  pierce  and  even 
the  heaviest  colours  have  a  sort  of  penetrability 
which  prevents  their  being  black.  An  unseen  torch 
throws  the  figure  of  the  soldier  in  the  foreground 
in  strong  silhouette,  as  he  holds  the  blinding  iron. 
That  torch  casts  also  a  bright  light  over  the  form 
of  the  fiercely  struggling  Samson  who  has  been 
pulled  down  backwards  with  his  assailant  under  him. 
In  the  receding  light  other  soldiers  are  seen  attacking 
the  giant;  and  Delilah  is  fleeing  out  of  the  tent 
still  holding  the  shears  wherewith  she  has  shorn 
Samson's  head,  whose  hair  she  waves  before  her. 
The  faint  glimmer  of  the  dawn  illuminates  the  back- 
ground through  the  open  tent-flap.  There  is  no 
ambiguity  in  the  just  allotment  of  the  light,  as  it 
touches  with  flickering  brilliancy  the  parts  it  strikes, 
while  leaving  the  corners  in  a  darkness  that  still  re- 
veals. The  passion  on  the  faces  of  the  soldiers,  the 
fierce,  mocking  triumph  of  the  vampire,  the  horrible 
agony  on  the  distorted  features  of  the  lost  giant, 
are  intensely  dramatic.  It  is  one  of  the  most  power- 
ful paintings  the  master  has  ever  produced. 


CHAPTER    XII 

THE     COLLECTION    OF    MODERN     PAINTINGS    IN    THE 
LOWER  BELVEDERE 

The  paintings  displayed  in  the  tier  of  chambers 
on  the  groundfloor  of  the  lower  Belvedere  are  all 
by  19th  century  artists,  the  majority  Viennese.  A 
goodly  portion  of  other  modern  work  is  also  shown, 
which  makes  the  Gallery  well  worth  visiting.  The 
rooms  run  the  entire  length  of  the  groundfloor  of 
the  building,  five  to  the  left  of  the  entrance  vesti- 
bule, and  three  larger  ones  to  the  right. 

The  First  Room  on  the  left  is  entirely  devoted 
to  Viennese  artists.  *'  Laufenburg  on  the  Upper 
Rhine  "  is  by  Gustav  Schonleber,  a  landscape  and 
architectural  painter.  Theodor  von  Horrmann  has 
a  "  Winter  in  Znaim  "  and  a  "  Harvest  scene '' ; 
and  Jan  Preissler  a  fine  marine,  entitled  "  The 
Black  Sea."  The  Viennese  landscape  painters  of 
the  19th  century  were  excellent  craftsmen,  but  all 
seem  to  have  had  a  common  self-sufficiency,  a  habit 
of  being  satisfied  with  moderate  attainment  of  an 
accepted,  conventional  formula.     Scarcely  ever  do 

292 


/IDobetn  ipaintfngs  293 

we  find  any  searching  for  new  light,  until  in  the 
last  two  or  three  decades  of  the  century  the  Seces- 
sion movement,  sweeping  over  Germany,  also  stirred 
a  few  of  the  Danube  artists  to  strive  for  stronger 
colour-effects. 

The  same  condition  prevailed  among  the  figure 
painters,  clearly  demonstrated  in  the  anecdotal 
*'  Tailorshop,''  by  Walther  Piittner.  In  genre, 
however,  we  find  a  few  touched  by  Zolaesque  real- 
ism, which  delighted  in  the  rugged,  oft  coarse  and 
brutal  presentation  of  human  nature  and  the  human 
form.  This  later  development  we  note  in  "  The 
Icemen,"  by  the  Austrian  Karl  Mediz. 

On  an  easel  in  the  corner  stands  Bocklin's  por- 
trait of  Lenbach,  a  powerful  characterisation, 
painted  with  all  the  magisterial  sweep  which  was 
at  the  master's  command.  But  we  will  consider 
this  one  of  the  greatest  artists  of  modern  times 
more  fully  later  on,  when  we  stand  before  one  of 
his  masterpieces. 

The  Second  Room  also  contains  Austrian  paint- 
ings. A  life-size  portrait  of  Emperor  Francis 
Joseph  I  is  by  the  Hungarian  K.  Pockwalszki.  W. 
List  and  W.  F.  Jaeger  have  peasant  scenes.  The 
self-taught  Bohemian  artist,  Josef  Piittner,  excelled 
in  marine  painting,  and  his  ''  Storm  and  Shipwreck 
at  Cape  Horn ''  is  a  fair  example  of  a  second-rate 
artist     Albin    Egger-Lienz    presents    "After    the 


294     XCbe  Hrt  of  tbe  IDienna  (Balleries 

War,  Tyrol  1809/'  where  the  old  men  who  have 
served  in  the  Landstarm  are  returning  home.  It 
is  a  typical  Defregger  picture,  with  somewhat 
broader  treatment.  Of  late  years  this  artist  has 
fully  been  inspired  by  the  Secession  spirit  and  his 
most  recent  works  are  powerful,  almost  titanic 
demonstrations  of  decorative  force. 

Several  watercolours  are  found  here  of  Rudolph  1 
Alt  —  quite  a  strong  man  who  had  good  Hght- 
effects  and  was  very  successful  in  perspective.  This  . 
is  to  be  seen  in  a  view  of  the  "  Church  of  St. 
Stephan "  of  Vienna,  that  wonderful  old  Gothic 
monument;  and  also  in  a  view  of  the  **  Public  Gar- 
dens of  Venice.'' 

There  is  more  of  interest  in  the  Third  Room. 
We  may  quickly  pass  the  "  Fruitmarket  in  Vienna,"  ] 
by  K.  Moll,  the  strongly  Frenchified  performances 
of  Emil  Jacob  Schindler,  and  the  more  Germanic 
pictures  by  August  von  Pettenkofen. 

The  healthiest  in  practice  of  the  middle-century 
painters  was  Moriz  von  Schwind.  He  was  a  na- 
ture painter,  who  loved  to  people  his  enchanted 
woods  with  fays  and  elves,  sprites  and  gnomes  and 
goblins,  with  a  warmheartedness  that  showed  how 
seriously  he  took  the  fantastic  creatures  of  his 
brain.  Such  fanciful  conceits  we  find  here  in  his 
'*  Nimper  Nip,"  in  the  "  Fairy  Rounddance,"  and 
where  the  mountain  sprite   "  Riibezahl "   wanders 


/IDo&ern  paintings  29s 

lonely  through  the  rocky  glenn.  Schwind  was  the 
sworn  enemy  of  the  purely  literary  Dusseldorf 
school,  whose  art  he  called  ''  blind  grovelling/' 
There  was  more  of  poetic  imagination  in  his  work 
than  in  that  of  the  platitudinous  transcribers  of 
other  men's  thoughts.  Thus  his  wooded  landscapes 
are  more  felt,  more  loved,  than  observed,  although 
still  saturated  with  nature's  breath.  The  early 
morning  sun-ray  breaks  through  the  light  green  of 
the  young  beeches,  and  gambols  from  twig  to  twig, 
and  changes  into  diamonds  the  glistening  dew- 
drops,  and  into  gold  and  precious  stones  the  brown 
beetles  that  seek  to  hide  under  the  grey  moss. 

Josef  Danhauser  also  was  an  independent  spirit.  I 
When  German  art  was  bound  by  its  literary  shack- 
les, and  even  the  literary  criterion  by  which  art 
was  measured  was  circumscribed  by  the  doings  of 
polite  society,  Danhauser  was  one  of  the  first  to 
consider  the  picturesque  life  of  the  common  people. 
The  affairs  of  a  pastor  or  a  schoolmaster  had  been 
considered  the  lowest  limits  of  an  artist's  world, 
and  when  Goethe  wrote  Hermann  and  Dorothea  it 
was  taken  quite  ill  that  he  would  concern  himself 
with  the  fate  of  an  apothecary  and  an  innkeeper's 
daughter.  But  Danhauser,  Ludwig  Richter,  and 
later  Ludwig  Knaus  followed  his  example  and 
popularised  democracy.  Danhauser's  "  Maternal 
Love"  is  an  instance  of  this  modernity.     We  may 


296     xrbe  Hrt  ot  tbe  Dienna  (Ballertes 

also  detect  therein  already  a  modern  feeling  for 
light  and  colour. 

Three  foreigners  are  further  shown  in  this  room. 
The  example  by  Laurens  Alma  Tadema  is  one  of 
his  classic  compositions  of  minute  finish.  The  cruel 
Fredegunde  plays  here  the  heroine.  Tadema  is  the 
learned  commentator  on  tales  of  antiquity  which 
he  depicts  with  scrupulous  care.  He  combines  the 
results  of  his  scholarly  investigations  with  an 
artistry  of  deep  dramatic  intent,  and  a  mise-en- 
scene  which,  whether  Greek,  Egyptian  or  Roman, 
always  gives  the  impression  of  being  true  to  the  life 
of  the  period.  A  Frisian  by  birth,  Alma  Tadema 
has  gone  back  to  the  technique  of  his  forbears,  Dou, 
Terborch,  and  has  added  thereto  a  modern  con- 
ception of  decorative  colour-scheme  which  is  aston- 
ishingly attractive.  His  skill  in  painting  marble  is 
especially  renowned. 

The  full-length  portrait  of  a  woman,  by  Eugene 
Carriere,  possesses  this  French  painter's  character- 
istic of  what  may  be  called  a  fluid  atmosphere, 
which  seems  to  drown  the  figure  in  the  diffused 
glory  of  a  twilight  that  enhances  its  melancholy. 
It  is  a  mannerism  that  has  been  highly  appreciated 
by  minds  that  lean  towards  mysticism  —  spiritual- 
ism, perhaps  —  who  have  raised  Carriere  on  a  high 
pedestal;  but  it  is  a  mannerism  for  all  that.  It 
has  been  stated  that  the  artist  was  preoccupied  with 


/Ro&etn  paintings  297 

a  spirit  of  reaction  against  Pleinairists  and  their 
abuse  of  the  functions  of  Hght  in  making  abstrac- 
tions of  soHd  realities.  This  shows  that  Carriere 
fell  into  exactly  the  same  error,  from  the  other 
extreme,  for  his  figures  are  more  like  abstractions 
of  realities  than  were  ever  conceived  by  the  most 
extreme  Luminist. 

Two  of  the  latest  additions  to  this  collection  are 
a  magnificent  figure  piece,  and  a  portrait  of  Don 
Miguel  de  Segovia,  both  by  Ignacio  Zuloaga.  In 
these  days  of  denationalising  art  it  is  stimulating 
to  stand  before  the  work  of  one  who  may  be  called 
a  classic  Spaniard.  Not  that  Zuloaga  is  narrow 
in  his  conceptions.  He  has  studied  and  painted  in 
Italy,  he  has  dipped  into  light-baths  of  the  ultra 
French  movement,  but  he  always  returns  to  Spanish 
subjects  to  paint  them  in  the  style  which  is  the 
heritage  of  Ribera  and  Goya.  His  work  has 
reached  the  absolute  unification  of  technique,  senti- 
ment, and  subject.  These  subjects  are  studied 
with  a  penetration  and  a  power  which  is  unfor- 
getable.  The  puissant  types  which  he  depicts  evolve 
a  race  — an  isolated,  mysterious,  a  somewhat  in- 
comprehensible race  —  with  an  exceptional  reality 
and  picturesque  characterisation.  Thus  his  por- 
traits are  of  the  soil  as  well  as  the  reflex  of  the 
sitter's  soul.  To  associate  Zuloaga's  name  in  any 
way  with  Velasquez  is  a   fundamental  error.     In 


298     XTbe  Hrt  ot  tbe  IDienna  Galleries 

no  way  is  he  in  sympathy  with  the  clearer  light 
of  the  great  Castilian  who  was  the  forerunner  of 
the  French  Pleinairists.  By  rights  he  must  claim 
descent  from  the  richer  contrasts  of  the  more 
southern  school  of  Valencia,  and  through  it  from 
Caravaggio. 

In  the  Fourth  Room  we  may  quickly  pass  by 
a  few  canvases,  still  worth  noting.  "  Children  at 
Play  "  is  by  August  Roth,  and  H.  J.  E.  Evenepoel 
depicts  the  close  of  day,  with  toil-worn  figures 
trudging  along  the  road.  Rudolf  Backer  has  a 
meritorious  portrait  of  two  women.  The  "  Last 
Morning  of  a  Condemned,"  by  Karl  Schindler,  is 
a  dark  picture  of  opaque  colour  that  looks  like  a 
begrimed  old  canvas.  Still  there  is  deep  feeling 
and  excellent  drawing  in  this  scene.  Leopold 
Muller,  a  genre  and  landscape  painter,  made  a  great 
reputation  as  an  illustrator  for  the  Vienna  Figaro. 
His  types  *' Old  Little  Matron''  and  "Last  Task 
of  the  Day ''  go  back  to  his  illustrative  period. 
His  *'  Modern  Sphinx  Judgment ''  glows  with  all 
the  colour  of  the  Orient. 

This  room  may  properly  be  called  the  Makart 
Room.  We  find  here  a  fine  ceiling  decoration  by 
this  famous  Viennese  artist,  Hans  Makart.  This 
can,  unfortunately,  scarcely  be  seen  in  the  poor 
light.  A  portrait  of  Charlotte  Wolter,  the  leading 
actress  of  the  time  at  the  Vienna  Burgtheatre,  in 


/IDo&etn  paintings  299 

the  character  of  MessaHna,  is  a  reaHstic  and  im- 
pressive document.  The  important  exhibit  is  the 
series  of  five  long,  narrow  panels  on  which  nude 
female  figures  symbolically  represent  "  The  Five 
Senses."  These  panels  are  known  all  over  the 
world  through  reproductions,  and  they  may  be 
considered  the  most  typical  presentments  whereby 
the  art  of  Hans  Makart  can  be  judged. 

We  note,  then,  that  Makart  was  a  sure  observer, 
a  splendid  draughtsman,  and  a  thorough  master  of 
his  craft.  His  one  desire  seems  to  have  been  to 
represent  beauty  in  form,  which  he  thought  to  find 
to  perfection  in  the  female  nude,  which  made  him 
the  German  Bouguereau.  He  painted  the  nude 
for  its  beauty  of  colour,  the  softness  of  the  muscles, 
the  transparency  and  reflection  of  the  limbs.  His 
art  was  utterly  devoid  of  literary  objectiveness,  its 
thought  is  only  a  transparent  mantle  around  the 
main  object,  which  is  the  painting.  In  this  he  was 
the  direct  antithesis  of  a  Dusseldorf  painter,  who 
first  considered  the  story,  and  then  sought  to  clothe 
it ;  caring  more  for  the  meaning  than  for  the  man- 
ner in  which  the  tale  was  told. 

All  this  may  be  said  in  praise  of  the  art  of 
Makart,  and  yet  it  fails  to  place  him  among  the 
masters,  for  with  all  the  superficial  attractiveness 
of  his  compositions  —  and  we  may  well  think  here 
of  his  equally  famous  "  Entry  of  Charles  V  into 


300     XCbe  Htt  of  tbe  IDienna  (Ballertes 

Antwerp,"  and  his  "  Diana's  Hunting,"  in  the 
Metropohtan  Museum  —  there  is  an  evident  lack  of 
sincerity  in  his  work.  In  these  five  figures  before 
us  the  treatment  of  the  forms  is  too  Hteral,  too 
descriptive,  rather  than  ideal.  We  do  not  catch 
on  these  figures  the  accidental  gleams  and  shades 
of  light  simmering  through  the  interstices  of  green 
foliage  —  they  bloom  in  an  absence  of  light,  of 
atmosphere,  with  very  sweet  and  pretty  pinks  of 
impossible  fieshtints,  and  a  conventional  background 
of  formless  green  made  to  represent  shrubbery. 
These  nymphs  are  prettily  sentimental,  faultily 
faultless,  vacuously  peaceful  —  but  they  also  lack 
the  vigour  of  line  which  gives  life;  and  the  smooth- 
ness of  their  demarkation  makes  these  forms  flaccid 
and  limpid. 

Nor  can  we  be  quite  satisfied  with  the  colour  of 
these  figures.  These  porcelain  models  look  all 
alike  —  soap,  rouge  and  cold  cream.  In  fact,  the 
efTect  before  us  suggests  that  before  the  artist 
painted  this  model,  she  painted  herself,  and  that  in 
all  her  nudity  she  seems  at  least  to  be  sufficiently 
protected  never  to  be  afraid  of  sunburn  or  freckles. 

We  need  not  consider  the  attacks  that  have  been 
made  on  the  art  of  Makart  on  moral  grounds  — 
aside  from  the  fact  that  specialists  in  morals  are 
not  generally  authorities  in  art.  The  art  of  Makart 
IS  sensuous  in  the  extreme,  yet  a  fine  distinction 


/IDo^ern  paintings  301 

must  be  drawn  from  the  sensual.  However  sen- 
sual his  life  may  have  been,  his  art  can  never  be 
stigmatised  as  the  expression  of  objectionable 
motives. 

The  majority  of  the  paintings  in  the  last  RoorOj 
of  this  wing  are  works  by  Ferd.  George  Wald- 
miiller,  who  was  in  sympathetic  accord  with  Dan- 
hauser.  The  portraits  painted  by  Waldmiiller 
look  quite  old-fashioned,  and  the  figures  in  the 
"  Monks  '  Supper ''  are  reminiscent  of  Dusseldorf 
—  Griitzner  painted  such  subjects  with  greater 
unction  and  humour.  In  the  "  Ruins  of  Schon- 
brunn  ''  we  find,  however,  a  creditable  attempt  at 
the  painting  of  free  sunlight,  which  makes  the  pic- 
ture very  attractive.  A  fruitpiece,  also,  has  all 
the  depth  of  romantic  colour. 

After  again  traversing  these  rooms  we  enter 
those  on  the  right  of  the  main  entrance,  where  we 
find  a  great  deal  that  is  of  surpassing  interest. 

Room  VI  presents  a  half  score  of  pictures,  ran- 
ging from  the  pure  realism  of  Courbet  to  the  su- 
preme idealism  of  Monet,  Bocklin,  and  Segantini. 
We  halt  first  before  a  large  landscape  by  the  French 
realist.  The  trees,  rocks,  verdure  and  sky  are 
painted  with  that  strong  savour  which  Courbet  felt 
and  reflected  so  intensely.  With  a  naturalism  that 
has  no  vestige  of  ideality  he  paints  the  solid  earth, 
physical,    actual,   prosaic,    in   all   brutal    frankness. 


302     Zbc  Hrt  of  tbe  iDtenna  ©alleries 

No  modern  painter  makes  one  feel  more  intensely 
the  crisp  breath  of  mountain  air,  or  makes  one 
hark  so  keenly  to  the  crackling  of  the  swaying 
boughs. 

The  very  antithesis  to  this  realistic  presentment 
of  nature  is  Hans  Thoma's  idealistic  "  Landscape 
from  Parsifal/'  which  wins  you  with  its  delightful, 
almost  childlike  freshness.  Thoma  was  not  always 
so  attractive  in  his  composing,  and,  at  first,  his 
pictures  were  by  no  means  beautiful.  They  lacked 
the  principle  of  great  art  which,  while  it  records 
what  is  ungainly  or  even  ugly  in  nature,  only  uses 
this  as  a  proper  foil,  and  directs  the  eyes  and 
thoughts  to  what  is  most  perfect  in  her.  In 
Thoma's  early  works  the  ugly  and  ungainly  asserts 
itself  more  than  necessary.  Still  the  objections 
raised  against  him  by  the  schoolmen  of  Berlin  and 
Dresden  —  some  of  these  advised  him  facetiously 
to  change  his  name  —  were  undeserved,  for  there 
was  in  this  master  a  power  of  idealisation  of  the 
commonplace  which  is  convincing.  And  Thoma, 
buried  in  the  country,  slowly  asserted  the  sincerity 
of  his  na'ive  and  charming  equipment,  and  demon- 
strated fully  at  last  his  solution  of  the  problem  to 
find  the  highest  in  the  lowest,  with  clear,  steady, 
unfaltering  truthfulness,  and  with  unforced  sym- 
pathy. His  landscapes  have  the  calm,  even  repose 
of  nature,  without  hurry  or  stagnation  and  some- 


/KoOern  pafntfrtQS  303 

times  with  a  spiritual  gaiety  —  as  in  the  example 
before  us  —  that  is  decidedly  inspiring. 

One  who  belongs  by  right  of  merit  to  the  group 
of  German  painters  who  revived  their  national  art 
through  that  great  movement,  the  Secession,  was 
Fritz  von  Uhde.  This  ex-cavalry  officer  and  son 
of  a  clergyman  came  through  Paris  to  the  Nether- 
lands, only  to  be  set  dreaming  in  his  own  way. 
His  conviction  that  truth  is  the  foundation  of  all 
beauty  led  him  to  a  realism  of  presentation  which 
was  assailed  on  every  hand  as  the  preachment  of 
socialism.  The  disciples  in  his  famous  "  Last 
Supper  "  have  been  called  a  mob  of  criminals,  be- 
cause Uhde  depicted  types  of  such  as  he  imagined 
had  followed  the  Master  —  men  taken  from  hard 
toil,  worn-out  yet  willing  to  suffer,  with  one  coat 
to  their  back  to  preach  the  gospel  of  eternal  riches. 
Such  spiritual  exaltation  in  decrepit,  poor,  misera- 
ble vessels  Uhde  conveys;  with  no  supreme  skill, 
perhaps,  but  adequately.  Thus  his  "  Fisherman's 
Children,"  here,  have  none  of  the  prettiness  that 
inspires  the  Philistine  with  admiration,  but  the  sim- 
plicity, the  unconscious  naturalness,  the  uncom- 
promising truthfulness  of  the  work  touch  and  in- 
spire those  who  seek  for  the  soul  in  art. 

Endowed  with  more  poetry  and  some  mysticism 
was  Hans  von  Marees,  of  whom  we  find  here  an 
idyllic  landscape.     This  painter's  principal  aim  was 


304     Ube  art  of  tbe  ©fenna  ©alletfes 

to  convey  a  sense  of  space  in  his  work;  and  colour, 
drawing,  composition,  light,  all  tend  to  impress  one 
with  the  largeness  of  nature,  the  amplitude  of  its 
forms.  He  was  decidedly  one-sided  in  his  per- 
formance. His  hatred  of  naturalism,  and  espe- 
cially of  modern  French  art,  made  him  often  fall 
into  every  transgression  of  style,  let  alone  of  con- 
vention. Nor  can  it  be  conceded  that  his  work, 
individual  though  it  be,  bears  in  it  the  complete- 
ness of  perfect  attainment.  Marees  was  too  much 
of  a  searcher,  almost  one  could  say  an  experi- 
menter. Nevertheless,  his  art  proves  him  to  be  a 
lover  of  the  ideal,  though  not  its  most  eloquent 
prophet. 

Few  will  contest  or  even  gainsay  the  claim  that 
the  greatest  genius  in  German  art  of  the  19th  cen- 
tury is  to  be  honoured  in  Arnold  Bocklin.  He  was 
the  greatest  landscapist  of  the  19th  century.  Not 
a  one-sided  specialist,  as  were  the  classics  of  Fon- 
tainebleau,  Corot,  Millet,  Rousseau,  who  each  had 
their  favourite  nook  or  time  of  day.  Bocklin  was 
as  many-sided  as  infinite  nature.  He  painted  her 
in  lovely  idyls,  in  sorrowing  elegies,  in  tempestuous 
tragedies,  in  all  the  dramatic  phases  of  an  exalted 
creation.  He  painted  everything  —  the  charming 
and  the  heroic,  the  sensuously  excited  and  the 
demonic  fantastic,  the  struggle  of  broiling  waves 
and  the  eternal  rest  of  towering  rockmasses,  the 


/IDo&ern  paintings  30s 

wild  turmoil  of  the  sky  and  the  quiet  peace  of  flow- 
ering swards. 

And  he  did  not  analyse  or  imitate  nature,  but 
he  synthetised  and  reproduced  her  in  images  of 
vital  significance,  reflecting  in  symbols  some  illu- 
minating poetical  idea.  He  populated  nature  with 
beings  which  seem  the  condensation  of  nature  her- 
self, the  tangible  embodiment  of  her  spirit  and 
cosmic  action.  Thus  there  takes  place  in  his  work 
an  organic  union  of  figures  and  landscapes  by  his 
force  of  intuitive  conception,  like  a  pantheistic 
nature-poetry.  These  figures  are  never  accidental, 
they  are  organic  parts  of  the  whole  design;  never 
meaningless  accessories,  but  symbolic  forms  ema- 
nating naturally  and  harmoniously  from  the  spirit 
of  the  scene  —  in  a  word,  the  actual  embodiment, 
the  allegorical  expression  of  the  scene  itself.  In 
a  dionysian  manner  he  invests  nature  with  a  soul. 

Note  the  examples  before  us.  In  this  "  Idyl  of 
the  Sea "  the  marvellous  effect  of  moving  water, 
the  colours  both  above  and  beneath  its  changing 
surface,  colours  with  violent  hues  and  purple 
shadows,  the  strange  half -human  quality  of  the 
sea-creatures  with  their  ebullient  energy,  boisterous 
humour,  stout  and  lusty  —  it  all  takes  rank  among 
the  inimitable  creations  of  Bocklin's  art.  Likewise 
his  "  Venus  Genetrix ''  is  a  work  of  supreme  gran- 
deur, where  in  the  measured  beating  of  the  waves 


3o6     xcbe  Htt  of  tbe  IDienna  Galleries 

upon  the  shore  we  seem  to  hear  the  lyric  song  of 
Hellenic  mythology. 

No  man  has  ever  painted  the  sea  as  Bocklin. 
How  the  white  foam  flows  down  the  wave  in  little 
rills,  how  the  blue  deepens  and  becomes  luminous, 
how  the  billows  grow  up  from  the  deep  and  are 
brushed  by  the  wind.  Water  all  around.  The 
horizon  is  low,  very  low,  as  if  the  painter  had 
been  sitting  up  to  his  breast  in  the  water.  And 
in  all  this  width  and  expanse  a  couple  of  beings, 
—  not  men,  not  animals,  and  yet  both ;  not  tritons, 
not  mermaids,  yet  both ;  not  beings  of  antique  lore, 
yet  of  classic  and  human  conception. 

Bocklin's  power  of  creating  these  beings  of  his 
imagination  is  a  thing  unheard  of  in  the  whole 
history  of  art.  He  visualised  the  wonderful  coal- 
escence of  animal  and  human  traits  in  his  centaurs, 
tritons,  mermaids,  nereids,  sirens,  fauns,  even  in 
the  unicorn  of  his  *'  Silence  in  the  Woods,"  in  forms 
so  fascinating  by  their  strength,  their  beauty  or 
their  ugliness,  as  no  longer  to  appear  grotesque. 
The  unbounded  freedom  of  their  being,  the  over- 
powering animalism  of  their  strength,  the  double 
life  with  which  they  seem  possessed,  is  depicted 
with  a  transcendent  artistry  that  rises  above  all 
conventional  conditions.  Even  the  mishandling  of 
human  or  animal  form  produces  the  essence  of 
both. 


/IDo&ern  painttnas  307 

Colour  was  with  Bocklin  everything.  Not  Hght 
colour,  not  grey  colour,  not  brown  colour,  but  colour 
in  its  highest  potency.  Many  of  his  pictures  have 
such  an  ensnaring  brilliancy  that  the  eye  never  is 
weary  of  feasting  upon  their  floating  splendour. 
He  painted  the  ocean  so  blue  as  it  is  possible  to 
be,  the  meadow  such  vernal  green,  so  full  of  flow- 
ers, the  sky  so  luminous  and  the  clouds  such  bril- 
liant white,  the  rocky  gorges  so  deep,  and  the  forest 
umbrage  so  dark  —  as  only  those  can  see  who  rub 
the  dust  of  the  soil  out  of  their  eyes,  tear  some- 
what apart  the  white  hazy  veil  of  earthly  existence, 
and  gaze  into  a  nature,  clarified,  etherealised,  per- 
fected, supernal.  That  is  what  BockHn  did  —  the 
prince  of  seers  with  prismatic  vision.  At  the  very 
time  when  Richard  Wagner  lured  the  colours  of 
sound  from  music  with  a  glow  and  light  such  as 
no  master  had  kindled  before,  Bocklin's  symphonies 
of  colour  streamed  forth  like  a  crashing  orchestra. 

Of  course  he  was  not  understood.  To  the  last 
his  works  remained  incomprehensible  to  the  gen- 
eral public.  He  offended  aesthetic  conventions  too 
strongly  by  giving  aesthetic  impressions  in  a  novel, 
personal  way.  Still,  he  slowly  educated  his  age 
to  recognise  the  aesthetic  truth  of  his  conceptions, 
even  of  those  creatures  of  his  fancy  which  had  at 
first  been  greeted  with  shouts  of  laughter.  And 
some  commenced  to  see  with  his  eyes,  so  that  the 


3o8     XEbe  Hrt  of  tbe  Dienna  Galleries 

storm  and  stress  of  his  youth  and  manhood  ended 
in  a  last  decade  of  peace  and  recognition.  Natu- 
rally, he  did  not  found  a  school  in  the  strict  sense 
of  the  word.  His  style  is  too  markedly  the  pro- 
duct of  his  own  personal  temperament.  But  the 
influence  of  the  strong  individuality  of  his  art  ex- 
tended far  beyond  the  narrow  bounds  of  pure  imita- 
tions, and  undoubtedly  was  felt  as  the  most  power- 
ful factor  in  the  renaissance  of  modern  German 
art.  What  Goethe  was  to  German  literature,  and 
Wagner  to  German  music,  Bocklin  was  to  German 
art. 

More  pagan  than  Bocklin  is  Franz  Stuck,  who 
undoubtedly  was  influenced  by  the  greater  master. 
He,  also,  loves  to  people  his  landscapes  with  Pan, 
fauns,  nymphs,  and  satyrs  in  joyous  freedom  and 
hearty  animalism.  He  makes  his  woodlands  ex- 
hale the  rude  vigour  of  the  earth,  and  he  sets  you 
down  in  these  shady  groves  with  a  spontaneity,  a 
gaiety,  or  a  tenderness  most  alluring.  In  his 
"  Landscapes,"  which  we  find  in  this  gallery,  there 
is  a  buoyancy,  a  delightful  freshness,  that  is  more 
physical  than  intellectual.  Stuck  uses  his  colour 
in  the  same  manner  as  Bocklin  did  —  to  give  the 
plane  of  the  canvas  the  dimensions  of  space.  He 
uses  the  colours  according  to  their  optical  effect 
as  they  project  or  retreat  from  our  eye.  Fre- 
quently Stuck  has  longings  for  the  profound,  the 


/»o&etn  pafnttngs  309 

didactic,  the  philosophic,  as  when  he  declaims  con- 
cerning ''  Sin  ''  or  "  War  "  and  '*  Evil  Conscience." 
Then  his  attempt  to  be  grandiose,  monumental, 
statuesque  becomes  but  a  clumsy  allegory,  some- 
times creepy,  more  often  banal,  and  always  thea- 
trical. 

The  modern  Viennese  painter  Gustave  Klimt 
fills  his  landscapes  with  a  thoughtful  tonality.  One 
of  these  here,  "  The  Lovers,"  has  the  human  in- 
terest added  in  a  most  sympathetic  manner. 

Two  foreigners  add  peculiar  interest  to  this  room 
of  moderns.  ''  The  Cook,''  by  Claude  Monet,  is 
one  of  his  rare  treatments  of  the  human  figure, 
which  he  places  in  the  atmosphere,  bathed  with 
light,  and  breathing  with  life.  It  reminds  us  of 
the  story  told  of  his  entrance  into  the  studio  of 
Gleyre  to  leave  it  immediately.  The  teacher  had 
objected  to  his  drawing  the  model  as  he  saw  it. 
"  You  are  copying  its  defects,  instead  of  correct- 
ing them  from  your  knowledge  of  the  best  exam- 
ples.'' ''  Then,  why  not  abandon  the  model  and 
draw  from  casts?"  was  his  indignant  rejoinder. 
There  is  no  perfection  of  a  cast  in  this  figure  here; 
it  has  all  the  imperfections  of  the  model ;  yet,  with 
all  its  apparent  sketchiness  the  study  is  exhaustively 
precise,  each  stroke  a  matter  of  reflection,  and  the 
labour  expended  long  and  scrutinising. 

Two  works  by  the  Italian  Giovanni   Segantini 


\ 


3IO     XCbe  Hrt  of  tbe  IDtenna  Gallerfes 

are  magnificent  examples  of  the  characteristic,  per- 
sonal art  of  this  great  painter.  They  are  entitled, 
"The  Bad  Mothers''  and  a  "Spring  Meadow/' 
Segantini  was  a  poet-painter  of  tender  sympathy, 
who  felt  the  soul  of  nature  in  the  solitude  of  the 
mountains,  in  the  iridescence  of  their  colours,  in 
the  dazzling  transparency  of  light.  How  true  is 
his  thin  atmosphere  of  the  higher  Alps,  with  the 
luminous  blues  and  whites,  and  rich  gold  and  sil- 
ver of  the  snow-capped  heights.  The  charming 
spring-freshness,  the  brief  summer-wealth,  the  long 
and  dreary  winter-solitude,  thrill  us  with  spiritual 
truth.  We  are  even  more  impressed  with  his  por- 
trayals of  the  relation  between  man  and  beast  — 
their  unity,  their  cosmic  oneness.  And  when  he 
depicts  with  touching  truthfulness  the  weariness, 
the  dulling  fatigue  of  the  peasant  after  a  day's 
hard  labour  in  the  fields,  he  infuses  the  tender 
pathos  of  this  life,  not  its  unredeemed  tragedy; 
for  we  feel  that  in  the  bare  and  lowroofed  huts 
content  and  happiness  dwell. 

Above  all  he  was  a  painter  of  motherhood  and 
motherlove  —  he,  who  had  suffered  as  an  orphan 
in  a  neglected  childhood,  who  had  never  known 
a  mother's  caresses.  Such  pictures  are  always 
filled  with  tenderness  —  except  once.  When  in  his 
last  decade  he  painted  symbolistic  works,  and,  pon- 
dering over  questions  of  crime  and  punishment,  his 


/lDo5ern  palnttngs  3" 

meditations  assumed  the  form  of  forceful  images, 
then  he  chose  a  message  almost  fraught  with  bitter- 
ness in  ''  The  Bad  Mothers."  There  he  pictures 
women  unwilling  to  bear  the  responsibilities  of 
motherhood,  and  he  banishes  them  in  their  thin, 
flowing  robes  into  a  bleak  desert  of  ice  and  snow, 
and  condemns  them  to  suckle  infants  that  seem 
to  grow  upon  the  naked  trees  —  a  gruesome,  almost 
Dantesque  fancy. 

Technically  Segantini  was  a  true  exponent  of 
the  doctrine  of  colour  which  was  utilised  in  France 
by  the  so-called  Impressionists  for  other  purposes. 
He  substituted  the  optical  mingling  of  colours  for 
the  mingling  of  pigments  on  the  palette;  in  other 
words  he  decomposed  all  the  colours  into  their 
constituent  elements  and  placed  these  in  short 
strokes,  like  threads,  alongside  each  other  on  the 
canvas.  With  him  this  optical  mingling  excites 
much  more  intense  luminosity  than  is  the  case 
with  many  others  whose  aim  is  to  produce  this 
result. 

In  Gallery  VII  we  are  attracted  by  the  work 
of  three  great  German  artists,  Feuerbach,  Lieber- 
mann,  and  Klinger. 

By  Anselm  Feuerbach  we  find  here  some  draw- 
ings which  are  individual  and  beautiful,  with  figures 
of  a  dignity  truly  Greek,  yet  a  charm  that  recalls 
the  earlier  masters  of  the  Renaissance.     There  is 


312     XCbe  Hrt  of  tbe  IDienna  Oallertes 

a  peculiar  analogy  to  be  drawn  between  Feuerbach 
and  Makart,  his  great  rival,  whom  he  derided  as 
*'  a  mountebank  and  a  vain  decoration-swindler/' 
Yet,  they  have  the  same  aim,  to  find  form  in  col- 
our, through  the  idealising  of  nature  and  not  of 
the  antique.  But  in  Feuerbach's  work  we  find 
more  thought,  more  dignity,  and  he  controls  the 
colours  he  uses  so  lavishly  with  a  delicate  tonality. 
There  is  with  him  simplicity  of  the  colour-speech, 
a  Greek  rhythmic  in  composition,  the  beautiful 
lines  of  the  bas-relief.  His  period  lost  interest  in 
his  work  because  it  was  not  anecdotal,  yet  his  ow^n 
prophecy :  ''  In  fifty  years  my  pictures  will  have 
tongues  to  tell  what  I  was  and  what  I  wished,'' 
has  been  sooner  fulfilled  than  he  himself  believed 
possible. 

Max  Liebermann  has  painted  most  in  Holland, 
a  country  whose  quiet  beauty  he  was  quick  to  ap- 
preciate. His  '*  Peasant-home  at  Edam ''  is  a  char- 
acteristic example  of  his  work.  He  aimed  to 
represent  the  common  facts  of  life  as  opposed  to 
its  humours  or  heroics,  in  which  he  diverged  from 
the  general  trend  of  German  art  in  his  time.  Thus 
he  became  one  of  the  first  rebels  against  the  thread- 
bare glamour,  and  the  hollow  sentiments  which 
ruled  in  Dusseldorf  and  Munich;  and  although  at 
first  called  "  the  apostle  of  the  ugly,''  the  clear, 
steady,  unfaltering  truth  of  his  work,  its  unforced 


/IDo&ern  paintings  313 

sympathy,  the  absence  of  all  effort  to  strike  the 
eye  with  bold  colour  or  vehement  gesture  soon 
found  its  appreciators  and  followers. 

Before  we  consider  the  large  *'  Judgment  of 
Paris,"  by  Max  Klinger,  which  covers  the  long 
wall,  we  will  turn  into  the  next  room,  where  we 
find  also  his  *'  Christ  in  Olympus.''  But  first  we 
will  note  some  of  the  other  paintings  in  this  Gal- 
lery VIII. 

An  imposing  mountainscape  that  bears  the  de- 
scriptive title  *'  Ueber  alle  Wipfeln  ist  Ruh,''  is 
by  Karl  Haider,  a  Secessionist  of  fair  attainment. 
Anton  Romako,  a  genre  painter  who  is  particularly 
successful  with  Viennese  children  types  and  Italian 
figures,  has  here  **  The  Bubble-blowers,"  a  sym- 
phony in  delicate  whites.  Franz  EybFs  genre  con- 
cerns itself  more  with  old  age,  as  we  see  in  ''  The 
Old  Beggars  "  and  "  Old  Woman  Praying."  Eu- 
gene Jettel,  the  Moravian  landscape  painter,  bears 
too  much  the  stamp  of  outside  influences  —  those 
of  the  modern  French  school,  and  of  Dutch  sce- 
nery which  he  is  fond  of  painting.  These  local 
scenes,  ''  Wood-landscape  in  the  Ramsau "  and 
"  Hintersee,"  could  as  well  be  considered  to  lie  in 
France  or  Flanders.  The  landscape  by  Albert 
Zimmermann  is  an  echo  of  Ruisdael,  for  it  seems 
as  if  all  the  followers  of  the  Achenbach  school 
of  landscape  painting  chose   some  old  master  or 


314     XCbe  Hrt  of  tbe  IDienna  ©alleries 

other  to  act  as  their  "  counsellor,  guide  and 
friend." 

The  consideration  of  the  two  large,  decorative 
canvases  by  Max  Klinger  may  well  close  our  ac- 
count of  the  Viennese  Galleries.  They  are  the 
apotheosis  of  modernity,  a  fit  finis  to  a  discussion 
of  so  many  of  the  marvellous  products  of  the  older 
masters  with  so  much  that  is  great  in  the  later 
schools. 

Max  Klinger's  name  was  first  mentioned  in  1878 
when,  in  an  exhibition  of  drawings,  was  heralded 
the  advent  of  a  new  man  of  an  interesting  tempera- 
ment, with  whom  the  world  of  art  should  reckon. 
This  was  followed  by  etchings,  some  of  which 
leaned  towards  the  Japanese  and  others  pointed  to 
Bocklin.  While  in  his  drav/ings  there  had  been  a 
humourous  vein,  he  had  become  more  serious  in  his 
etchings,  sometimes  revealing  a  touch  of  the  grue- 
some, with  all  the  moral  teaching  of  Hogarth  more 
grimly  put.  When  he  started  to  paint  it  was  by 
the  way  of  Flaubert's  realism,  in  which  he  tried 
to  show  the  truths  of  life  with  the  expression  of 
Zola's  horrors.  The  manner  in  which  his  work 
was  received  may  be  surmised.  It  is  the  same  all 
the  world  over.  The  conventional  Academicians 
and  the  hide-bound  critics  have  ever  ready  the 
taboo,   *'  Kill  him !     He  is  original ! '' 

This  was  the  reception  which  his  first  large  oil 


/lio5ern  paintings  31s 

painting  received  at  a  Berlin  exposition  in  the  late 
eighties.  Klinger  had  found  himself.  Nothing  of 
any  outside  influence  was  to  be  seen  in  his  mag- 
nificent '^  Judgment  of  Paris/'  which  is  now  here 
before  us.  It  was  one  of  the  first  works  of  a 
new  movement  to  be  seen  in  public.  But  the  uni- 
versal condemnation  showered  upon  it  almost  broke 
the  young  painter's  heart. 

And  what  was  it  that  upset  the  community? 
Three  females  standing  before  a  youth,  one  glory- 
ing in  her  nudity,  the  other  two  partly  draped. 
How  often  had  this  subject  been  painted  without 
ever  arousing  antagonism?  But  then  the  female 
figures  had  been  raised  through  idealism  to  a  higher 
sphere,  whereby  beauty  covered  and  redeemed 
nudity.  Here,  the  stern  realism  was  too  arousing 
for  the  mentally  torpid  who  had  always  been  sat- 
isfied with  the  restful  conventions  of  the  past.  A 
decidedly  modern  manner  of  presentation,  of 
decorative  purport,  even  in  a  hard,  dry  colour, 
but  of  broad,  masterful  handling,  shook  the  dev- 
otees of  mediocre  art  with  horror  and  consterna- 

gjgj.;,  tion. 

mm 

HP'  The  next  great  work  by  Klinger  was  a  ''  Cruci- 
fixion "  —  equally  opprobrious  to  those  who  be- 
lieved in  the  presentation  of  the  dogma  of  the 
Church,  not  of  the  soul  of  faith. 

"Christ  in  Olympus"   (Plate  XLVII)   was  the 


3i6     Xtbe  Hrt  ot  tbe  IDienna  Oalleries 

third  of  the  master's  large  canvases.  Here  is  a 
juxtaposition  of  Christian  and  pagan  ideals  which 
is  distinctly  dramatic.  The  Lord,  with  a  gold 
brocade  mantle  around  His  lean  body,  and  fol- 
lowed by  four  richly  gowned  women,  representing 
the  cardinal  virtues,  intrudes  upon  these  splendid 
gods.  Before  the  Christ  sits  Zeus,  with  Gany- 
mede leaning  between  his  knees.  Bacchus  offers 
Him  his  goblet,  Cupid  is  ready  to  dart  his  arrows 
to  His  heart.  Only  Psyche,  the  soul,  under- 
stands, and  she  alone  is  eager  to  welcome  the  new 
ruler. 

This  painting  was  exhibited  in  Vienna  in  1899, 
and  found  at  once  a  home  in  the  Lower  Belvedere 
—  ample  proof  that  in  a  decade  the  judgment  of 
the  Philistines  had  been  overruled  by  the  hearty 
acclaim  of  those  whose  broader  vision  looks  kindly 
upon  the  steps  of  a  genius,  though  he  walks  in 
novel  paths. 

Klinger  is  an  artistic  polygamist  —  he  is 
wedded  to  all  the  arts,  to  music,  to  literature.  He 
is  a  sculptor  of  note.  The  frames  for  these  large 
canvases  were  built  and  carved  by  the  artist  with 
marble  figures  at  the  base  and  in  the  predella.  He 
has  even  gone  into  that  ancient  usage  of  poly- 
chromy  and  chriselephantine  sculpture,  of  which 
his  seated  statue  of  Beethoven  is  his  most  won- 
derful work. 


/fto&ern  paintings  317 

If  any  man,  Klinger  has  proved  the  existence 
of  a  new  art,  with  all  its  transposing  of  routine 
and  art-dicta  of  the  classics  of  centuries  ago  and 
of  yesterday.  If  any  man,  he  has  proved  that  Art 
is  ever  young. 


THE   END. 


BitJlloGtapj)^ 


Alexandre,  Arsene  —  Histoire  Populaire  de  la  Peinture. 

Berenson,  Bernard  —  The  North  ItaUan  Painters  of  the  Renais- 
sance. 

Berenson,  Bernard  —  The  Florentine  Painters  of  the  Renaissance. 

Berenson,  Bernard  —  The  Venetian  Painters  of  the  Renaissance. 

Berenson,  Bernard  —  The  Central  Italian  Painters  of  the  Renais- 
sance. 

Blanc,  Charles  —  Le  Tresor  de  la  Curiosity. 

BoNAFFLE  —  Dictionnaire  des  Amateurs  Frang-ais  au  XVIIe  Siecle. 

Cartwright,  Julia  —  The  Painters  of  Florence. 

Conway,  W.  Martin  —  Early  Flemish  Artists. 

Dyke,  John  C.  van  —  History  of  Painting. 

FoRSTER,  E.  —  Geschichte  der  Deutschen  Kunst. 

Frimmel,  Theodor  von  —  Geschichte  der  Wiener  Gemaldesamm- 
limgen. 

Fromentin,  E.  —  Maitres  d' Autrefois. 

GuRLiTT,  Cornelius  —  Die  Deutsche  Kunst  des  Neunzehnten 
Jahrhunderts. 

Heidrich,  Ernst  —  Die  Alt-Deutsche  Malerei. 

KuGLER,  F.  T.  —  The  Italian  Schools  of  Painting. 

Lafenestre,  Georges  —  Maitres  Anciens. 

LiJBKE,  Wilhelm  —  History  of  Art. 

MuNTz,  Eugene  —  Histoire  de  I'Art  pendant  la  Renaissance. 

Passavant  —  Kunstreise  durch  England  und  Belgien. 

Pecht,  F.  —  Die  Deutsche  Kiinstler  des  igen  Jahrhunderts. 

Reinach,  S.  —  The  Story  of  Art  throughout  the  Ages. 

RusKiN,  John  —  Stones  of  Venice. 

Suida,  Wilhelm  —  Die  Wiener  Gemaldegallerien. 


320  aBibUograpbij 

Symonds,  J.  Addington  —  Renaissance  in  Italy. 
Taine,  H.  —  Voyage  en  Italie:  Florence  et  Venise. 
Vasari,  G.  —  Lives  of  the  Painters. 
Wauters,  a.  J.  —  La  Peinture  Flammande. 
WoLTMANN  and  WoERMANN  —  Geschichte  der  Malerei. 


finbcx 


Abbate,     Niccolo    delP   (1512- 

1571),  275 
Abel,  Josef  (17 64-1 81 8),  153,  203 
Achen,  Hans  von  (1552-1615), 

148 
Aertsen,  Pieter  (1507-1575),  2, 

93 
Albani,  Francesco  (i 578-1 660), 

68,  274 
Aldegrever,     Heinrich      (1502- 

1555),  248 
Alfero  y  Gomez,  Juan  de  (1640- 

1680),  281 
Allori,  Angiolo.    See  Bronzino 
Alt,  Rudolf  (1812-1879),  294 
Altdorfer,  Albrecht  (i 480-1 538), 

143 
Amberger,     Christoph     (1500- 

1562),  147,  283 
Amerling,  F.  von  (1803-1887), 

154 

Amico  di  Sandro  (end  15th  cen- 
tury), 210 

Antonello  da  Messina  (1444- 
1493),  36,  216 

Artois,  Jacques  d'  (1613-1686), 
117,  208 

Asselyn,  Jan  (1610-1652),  194, 

239 
Averkamp,      Hendrik      (1585- 
1663),  119 

Backer,  Rudolf  (19th  century), 

298 
Badile,  Antonio  (15 16-1560),  64 
Bakhuyzen,  Ludolf  (1631-1709), 

127,  254,  288 


Baldung,  Hans  (1475-1545),  144 

182 
Balen,  Hendrik  van  (15 75-1 63 2), 

107,  245 
Bamboccio.  See  Pieter  van  Laar 
Barbarelli,   Giorgio.     See  Gior- 

gione 
Barbieri,    Giovanni    Francesco. 

See  Guercino 
Barendszen,  Dirk  (1534-159 2), 

232 
Barocci,  Frederico  (1528-1612), 

263 
Bartolo    di    Fredi   (1330-1409), 

169 
Bartolommeo  Fra  (i475-i5i7)» 

15  ,      . 

Basaiti,    Marco    (active    1503- 

1521),  39,  275 
Bassano,    Francesco   II    (1549- 

1592),  3,  61,  268 
Bassano,  Giacomo  (1510-1592), 

3,  61 
Bassano,Leandro(i558-i623),6i 
Bastiani,  Lazzaro  (active  1470- 

1508),  40 
Batoni,    Pompeo     (i  708-1 787), 

276 
Bazzi,  Antonio.    See  Sodoma 
Beccaruzzi,    Francesco     (active 

after  1520),  47 
Beck,   Leonhard    (active    1503- 

1542),  144 
Bedoli  -  Mazzola,         Girolamo 

(1500-1569),  275 
Bega,  Cornelis  (1620-1664),  122, 

191 


321 


322 


*ffn^ex 


Beham,  Bartel  (1502-1540),  142 
Bellini,  Giovanni  (1428-1516),  2, 

36 
Belliniano,    Vittore    (beginning 

1 6th  century),  176 
Belotto,   Bernardo.     See  Cana- 

letto 
Berchem,  Nicolaas  (1620-1683), 

126,  194,  233,  260 
Berckheyden,      Gerrit      (1638- 

1698),  197 
Beyeren,  Abraham  van   (1620- 

1674),  127,  201 
Bissolo,  Francesco  (active  1492- 

1530),  38,  39 
Blaas,    Karl    Ritter    von    (con- 
temporary), 156 
Bles,    Hendrik    met   de    (1480- 

1525),  185,  253 
Bloemaert,      Abraham      (1564- 

1651),  118,  2&3 
Bloemen,     Frans     van     (1662- 

1748),  117 
Bloot,  Pieterde  (1600-1652),  191 
Bocklin,     Arnold     (1827-1901), 

293,  304-308 
Bol,  Ferdinand  (1616-1680),  192, 

285 
Bonvicino,  Alessandro.    See  Mo- 

retto 
Bordone,  Paris  (1500-15 70),  52, 

217 
Bosch,  Hieronymus  (1460-1516), 

89,  186,  271 
Both,  Jan  (1610-1652),  194 
Botticelli,   Sandro    (1446-1510), 

168,  209 
Boulogne,    Valentin    de    (1591- 

1634),  72 
Bourdon,  Sebastian  (1621-1671), 

269 
Bourguignon    (1621-1676),    73, 

202,  236 
Bouts,  Dirk  (1420-1475),  185 
Brakenburgh,    Richard    (1650- 

1702),  122,  191 
Bramer,    Leonard    (1595-1674), 

254 
Brandt,  Josef  (born  1841),  205 


Brekelenkam,  Quiryn  (1620- 
1668),  237 

Breughel,  Jan  the  Elder,  "  Vel- 
vet "  (1568-1625),  108,  272, 
288 

Breughel,  Jan  the  Younger 
(1601-1678),  108,  243 

Breughel,  Pieter  the  Elder, 
**  Peasant  "  (1525-1569),  2, 

94,  253 
Breughel,   Pieter   the   Younger, 
''  Hellish  "  (1564-1638),  96, 

253 
Bril,  Paul  (1554-1626),  107 
Bronzino  (1502-1572),  19,  213 
Brouwer,   Adriaen   (1605-1638), 

116,  191,  241,  266,  289 
Brozik,  Wenzel  von  (1852-1901), 

162 
Brusasorci.    See  Riccio 
Bueckelaar,      Joachim      (active 

1559-1575),  93 
Bugiardini,      Giuliano      (1475- 

1554),  19 
Burckmair,    Hans    (1473-153 1), 

142 
Busi,  Giovanni.    See  Cariani 

Calame  (1810-1864),  157 
Calcar,  Jan  Stephan  von  (150a- 

1546),  248 
Caliari,  Paolo.    See  Veronese 
Camphuyzen,    Raphael    (1586- 

1627),  240 
Campi,  Bernardino  (1522-1592), 

269 
Canale,    Antonio    (1697-1768), 

234 
Canaletto    (1720-1780),    5,    65, 

234,  277,  287 
Capelle,  Jan  van  d  (1624-1679), 

127 
Caravaggio,     Michelangelo     da 

(1569-1609),  2,  69,  219,  264, 

277 
Caravaggio,   Polidoro  da    (died 

1543),  30,  213 
Carducho,    Bartolomeo    (1560- 

1608),  277 


fn&ex 


323 


Cariani  (1480-1541),  34,  5^ 
Carpaccio,  Vittore  (1450-1522), 

4°^  ^74        .       ,       „     ^     , 
Carracci,  Agostmo  (1558-1601), 

67 
Carracci,  Annibale  (1560-1609), 

67,  263 
Carracci,  Antonio   (1583-1618), 

67 
Carracci,  Lodovico  (1555-1619), 

67,  277 
Carreiio,  Juan.    See  Miranda 
Carriere  Eugene  (died  1906),  296 
Casanova,    Franz    (1727-1802), 

149 
Catena,  Vincenzo  (died  1531),  39 
Cerano,  il  (1557-1633),  65 
Cerezo,  Matteo  (1635-1685),  264 
Champaigne,  Philippe  de  (1602- 

1674),  117 
Chardin,  J.  B.  (1699-1779),  235 
Civetta.     See  Hendrik  met  de 

Bles 
Claude  Lorrain  (1600-1682),  72, 

202,  263,  276 
Cleve,  Joost  van  (died  1540),  89, 

184 
Cleve,  Marten  van  (15 27-1 581), 

97 
Clouet,    Frangois    (1500-1573), 

71,  98  . 
Cocxie,     Michiel     van     (1497- 

1592),  97 
Codde,  Pieter  (1600-1678),  123, 

190,  246 
Coello,  Alonso  Sanchez   (151 2- 

iS9o)»  74,  280 
Conegliano,    Cima    de    (active 

1489-1508),  6,  39,  176 
Coninxloo,    Gillis    van    (1544- 

1609),  253 
Copley,  John  Singleton  (1737- 

1815),  236 
Coques,   Gonzales   (1618-1684), 

3,  288 
Cordua,    Juan    (active    middle 

17th  century),  278 
Cornells  Comelisz.  van  Haarlem 

(1562-1638),  98        -  . 


Correggio,    AUegri    da    (1494- 

1534),  2,  32 
Costa,  Lorenzo  (1460-1536),  22 
Courbet  (1819-1878),  301 
Courtois,   Jacques.     See   Bour- 

guignon 
Craesbeeck,    Joost   van    (1608- 

1666),  242 
Cranach,  Lucas  the  Elder  (1472- 

1553),    144,   181,    182,    249 

270,  286 
Cranach,    Lucas    the    Younger 

(1515-1586),  145 
Crayer,  Caspar  de  (i  584-1669), 

112,  270 
Crespi,  Battista.  See  il  Cerano 
Crespi,  Daniele  (i 590-1630),  66 
Crivelli,  Carlo  (1430-1493),  171 
Cruz,  Juan  de  la  (1551-1609),  75 
Cuyp,  Aelbert  (1620-1691),  240, 

244,  260 
Cuyp,    Jacob    Gcrritsz.   (1575- 
"  1651),  200,  245,  286,  288 

Danhauser,  Josef    (1805-1845), 

155,  295 
Daret,  Jacques.    See  Master  of 

Flemalle 
David,    Gerard    (active    1484- 

1523),  187,  283 
David,    Jacques    Louis    (1748- 

182  ),  154 
Decker,  Cornells  (died  1678),  260 
Defregger,     Franz     von     (born 

1835),  160,  206 
Delen,   Dirk   van    (1605-1671), 

124 
Delff,    Jacob    Willemsz.    (died 

1601),  119 
Denner,  Balthasar  (1685-1749), 

149 
Denys,  Frangois   (active   16 10- 

1655),  109 
Does,    Jacob    van    der    (1623- 

1673),  126 
Dolci,  Carlo  (1616-1686),  66,  286 
Domenichino    (1581-1641),    220 
Dossi,  Dosso  (1479-1542),  22 
Dosso,  Battista  (died  1598),  269 


324 


irn&ei 


Dou,  Gerard  (1613-1675),  128, 

258,  289 
Dubbels,  Hendrik   (1620-1676), 

290 
Duck,    Jacob    A.    (1600-1660), 

123,  190,  285 
Dufresnoy,      Alphonse      (161 1- 

1668),  263 
Dujardin,    Karel    (1622-1678), 

126,  195 
Duplessis,     Joseph     S.     (1725- 

1802),  73 
Diirer,     Albrecht     (1471-1528), 

2, 37, 136-142, 181, 186,  262 
Dusart,    Cornelis    (1660-1704), 

122,  191,  266 
Dyck,  Anton  van  (1599-1641), 

109-112,  201,  222-224,  228, 

233,  262,  265,  270,  282,  289 

Eeckhout,  Gerbrandt  van  den 
(1621-1674),  246,  261 

Egger-Lienz,  AJbin  (contem- 
porary), 293 

Elsheimer,  Adam  (1578-16^0), 
149,  183,  270 

Engelbrechtsen,  Cornells  (1468- 
1533),  186,  251 

Engerth,  Ed.  Ritter  von  (1818- 
1897),  156 

Es,  Jacob  van  (i 596-1666),  285 

Evenepoel,  H.  J.  E.  (19th  cen- 
tury), 298 

Everdingen,  Allert  van  (16  21- 
167s),  125,  196,  245,  260, 
273 

Eybl,   Franz   (1806-1880),   153, 

Eyck,  Jan  van  (1385-1440),  82, 
270 

Fabricius,   Barent   (1620-1672), 

192 
Farinato.    See  Zelotti 
Feuerbach,  Ansehn  (i 829-1 880), 

Flinck,    Govaert     (1615-1660), 

121,  273 
Floris,  Frans  (1518-1570),  97 


Fouquet,  Jean  (1415-1485),  250 
Francesca,  Pierro   della    (1420- 

1492),  214 
Francdschini,      Marc      Antonio 

(1648-1729),  208,  222 
Francia,  Francesco  (1450-15 17), 

22,  30,  173,  215 
Franciabigio  (1482-1525),  3,  18, 

212 
Francken,    Frans    the   Younger 

(1581-1642),  234,  273,  289 
Fries,  Hans   (middle   i6th  cen- 
tury), 183 
Frueauf,  Rueland  (active  1471- 

1484),  136 
Fuger,  F.  H.  (1751-1818),  153, 

204 
Fuhrich,  Josef  Ritter  von  (1800- 

1876),  155 
Furini,   Francesco    (1600-1649), 

66 
Fyt,  Jan  (1611-1661),  116,  201, 

254,  273 

Gainsborough,    Thomas    (1727- 

1788),  236 
Galleazzo    Campi    (1477-1536), 

170 
Garafalo,      Benvenuto      (1481- 

1559),  214 
Gauermann,  F.  (1807-1863),  205 
Geertgen  van  Sint  Jans  (active 

middle    15th   century),   88, 

251 
Gelder,  Aert  van   (i  645-1 727), 

121,  188,  231 
Giorgione  (i478-i5io),4,4i,  177 
Giovenone  Vercelli  (begin  i6th 

century),  208 
Goes,  Hugo  van  der  (1435-1482), 

85,  251 
Gossaert,  Jan.    See  Mabuse 
Goyen,    Jan    van    (i  596-1 656), 

125,  196,  243,  245,  288,  290 
Gozzoli,  Benozzo  (1420-1498),  14 
Greco,  el  (1548-1625),  62,  75, 178 
Grien.    See  Hans  Baldung 
Grimmer,    Hans    (active   .1560- 

iS9o)>  147        ' 


fnOex 


325 


Guardi,  Francesco  (1712-1793), 

178,  23s 
Gude,  Hans  (1825-1903),  206 
Guercino  (1591-1666),  69,  219, 

234,  269 

Hackaert,  Jan  (1629-1699),  247 
Hackert,  J.  P.  (1737-1807),  154 
Haider,    Karl     (contemporary), 

313 
Hals,    Dirk    (1591-1656),    123, 

189,  246 
Hals,    Frans    (1581-1666),    119, 

224 
Hamilton,    Johann    Georg    von 

(1672-1737),  117 
Hamilton,  Philip  F.  von  (1664- 

1750),  117 
Hanneman,      Adriaen      (1601- 

1671),  112 
Heda,    Willem    Claesz.    (1594- 

1678),  254,  273 
Heem,  Cornelis  de  (1631-1695), 

127,  261 
Heem,   J.   D.   de    (1606-1684), 

127,  201,  254,  261 
Heemskerck,       Maarten       van 

^  (1494-1574),  285 
Heinz,  Josef  (i 564-1609),  148 
Heist,    Bartolomeus     van     der 

(1613-1670),  265 
Hemessen,     Jan    Sanders    van 

(1500-1566),  93 
Herrera,    Francisco    de    (1576- 

1656),  264 
Heyden,    Jan    van    der    (1637- 

1712),  124,  197,  247 
Hire,  Laurent  de  la  (1606-1656), 

72,  276 
Hobbema,      Meindert      (1638- 

1709),  126,  237,  245 
Hoechle,   Johann    the   Younger 

(1790-1835),  153 
Hoecke,    Jan   van   den    (161 1- 

1651),  3,  108,  114,  121 
Holbein,     Hans     the     Younger 

(1497-1543),  146,  287 
Hondecoeter,  Melchior  d'  (1636- 
■'    1695),  117,  201,  261 


Honthorst,  Gerard  van  (1590- 
1656),  118 

Hooch,  Pieter  de  (1630-1677), 
122,  187 

Hoogstraten,  Samuel  van  (1627- 
1678),  122 

Horrmann,  Theod.  (19th  cen- 
tury), 292 

Hughtenburg,  Jan  van  (1647- 
1733),  127 

Huysum,  Jan j^, van  (168  2- 1749), 
127,  201,  245,  261 

Jaeger,  W.  F.  (19th  century),  293 

Jettel,  Eugene  (born  1845),  3^3 

Jordaens,    Jacob     (i 593-1678), 

113,  200,  229,  272, 285 

Kaufmann,  Angelica  (1741- 
1807),  149 

Kaulbach,  F.  A.  von  (1850- 
1910),  158 

Kessel,  Ferdinand  van  (1648- 
1696),  117 

Kessel,  Jan  van  (1626-1679),  117 

Key,  Adriaen  (middle  i6th  cen- 
tury), 98 

Key,  Willem  (middle  i6th  cen- 
tury), 98 

Keyzer,  Thomas  de  (i 597-1667), 
231 

Klimt,  Gustave  (contemporary), 

309 
Klinger,  Max  (born  1857),  314- 

'    317 
Knaus,  Ludwig  (1829-1905),  205 
Kniipfer,  Benes  (born  1848),  157 
Koninck,    Salomo    (1609- 1656), 

273 
Krafft,  J.  P.  (1780-1856),  154 
Krodel,  Wolfgang  (active  1528- 

155s),  145 
Kulmbach,    Hans    von    (1470- 
1522),  142 

Laer,    Pieter   van    (i 590-1658), 

118,  193 
Lambertini,  Michele  di  Matteo 

(Middle  15th  century),  171 


326 


fn&ex 


Lampi,  J.  von  (1751-1830),  243 
Lauri,  Filippo  (1628-1694),  263 
Lebrun,     Charles     (16 19-1690), 

72,  233 
Lely,  Sir  Peter  (1618-1690),  113 
Lenbach,     Franz     von     (1836- 

1904),  161,  293 
Leonardo  da  Vinci  (1452-1519), 

211 
Leyden,  Lukas  van  (1494-1533), 

90,  184,  253 
Leux,  Franz  (1604-1652),  3 
Licinio,     Bernardino.       See     il 

Pordenone 
Liebermann,  Max  (born  1847), 

312 
Lievens,  Jan  (1607-1674),  121, 

232,  265 
Lingelbach,     Johannes     (1623- 

1674),  126,  194 
Liotard,    Jean    Etienne    (1702- 

1789),  5,  74 
List,  W.  (19th  century),  293 
Lotto,  Lorenzo  (1480-1555),  38, 

Luini,  Bernardino  (1480-1533), 
23,  281 

Mabuse  (1470-1541),  97 

Maes,  Nicolaas  (1632-1693),  189, 

237 
Makart,  Hans  (1840-1884),  162, 

298-301 
Mainardi,       Sebastiano       (died 

1513),  210 
Manglard,  Adrien   (1695-1760), 

74 
Mansuetti,  Gio.  (second  half  15th 

century),  216 
Mantegna,  Andrea  (1431-1506), 

19,  35 

Maratta,  Carlo  (1625-1713),  68, 
276 

Marchesi,  Girolamo  (i6th  cen- 
tury), 213 

Marconi,  Rocco  (beginning  i6th 
century),  268 

Maries,  Hans  von  (1837-1887), 
303. 


Marko,  Karl  (i 791-1860),  156, 
205 

Marziale,  Marco  (1440-1507), 
268 

Massys,  Jan  (1509-1575),  92 

Massys,  Quentin  (1466-1530),  2, 
92,  252,  271 

Master  of  the  Death  of  Mary. 
See  Joost  van  Cleve 

Master  of  the  Female  Half- 
figures  (early  part  i6th  cen- 
tury), 98,  270,  272 

Master  of  Fl^malle  (1410-1470), 
283 

Max,  Gabriel  (born  1840),  159, 
206 

Mazo,  Juan  Battista  del  (died 
1667),  79 

Mazzolino,  Lodovico  (1480- 
1528),  170 

Mediz,  Karl  (born  1868),  293 

Meister  Pfenning  (active  middle 
15th  century),  135 

Meister  von  Prag  (active  1348- 

1367),  134 
Memlinc,  Hans  (1430-1494),  85, 

251 
Mengs,    Raphael     (i  728-1 779), 

149,  277 
Messina,    Antonello   da    (1430- 

1470),  36,  216 
Metsu,  Gabriel  (i 630-1 667),  130, 

188,  266,  287 
Mierevelt,  Michiel  Jansz.  (1567- 

1641),  119,  200 
Mieris,    Frans    van,    the    Elder 

(1635-1681),  130,  238 
Mieris,  Willem  van  (i 662-1 747), 

130,  193 
Mignard,  Pierre  (161 2-1695),  72 
Milano,  Andrea  da.    See  Salaino 
Millet,    Jean    Francois    (1642- 

1679),  73,  235 
Miranda,     Juan     Carreiio     de 

(1614-1685),  80,  180,  279 
Molenaer,    Jan    Miense    (1610- 

1668),  122,  239 
Moll,  K.  (19th  century),  294 
Molyn,  Pieter  (i  600-1 661),  191 


fnJ)ex 


327 


Momper,  Joost  de  (1564-1635), 

108 
Monet,  Claude  (19th  century), 

309 
Montfoort,  Antonis  van  (1532- 

1583),  98 
Mor,  Antonis   (1512-1578),   98, 

192,  232 
Moretto  (1498-1555),  6,  57,  217 
Moroni,     Giambattista     (1520- 

1578),  59,  218 
Moucheron,  Frederik  de  (1633- 

1686),  127  % 

Moya,    Pedro    de    (1610-1666), 

264 
Mulich,  Hans  (151 6-1573),  i47> 

248 
Muller,  Leopold  (born  1834),  298 
Murano,     Andrea     da     (active 

1462-1507),  35 
Murillo  (1618-1682),  7,  80,  179, 

264,  280 
Muziano,  Girolamo  (1528-1592), 

275 

Neeffs,  Pieter  the  Elder  (1577- 

1660),  108,  197 
Neeffs,     Pieter     the     Younger 

(1620-1675),  289 
Neer,  Aert  van  der  (1603-167 7), 

119,  236,  242,  260 
Neer,   Eglon   Hendrik   van   der 

(1635-1703),  242 
Netscher,   Kaspar   (1639-1684), 

258,  287^ 
Nooms,  Reinier.    See  Zeeman 

Oosterwyck,  Maria   van  (1630- 

1693),  127 
Oostsanen,  Jacob  Cornelisz.  van 

(1470-1533),  88,  253 
Orley,  Bernard  van  (died  1542), 

97,  283 
Orrente,  Pedro  (i  560-1 644),  75 
Orsi,  Lelio  (1511-1587),  263 
Ostade,     Adriaen    van     (16 10- 

1685),   122,   191,   241,   246, 

261 


Pacheco,  Francesco  (1571-1654), 

277 
Padovanino    (i  590-1 650),    178, 

268 
Palamedes  (1601-1673),  123 
Palma  Giovine  (1544-1628),  64, 

274,  276 
Palma  Vecchio,  Jacopo   (1480- 

1528),  3,  44,  64 
Palmezzano,  Marco  (1456-153  7), 

215 
Panini,   Giovanni  Paolo   (1691- 

1768),  276 
Pantormo,    Jacopo    de    (1494- 

1557),  19 
Paris  Bordone  (1500-1571),  52, 

217 
Parmigianino,  Francesco  (1504- 

1540),  3,  34 
Patinir,  Joachim  (died  young  in 

1524),  2,  91 
Payer,  Julius  Ritter  von  (born 

1842),  160 
Pedrini,  Giovanni  (active  1520- 

1556),  173 
Peeters,     Bonaventuta     (16 14- 

1652),  109,  273 
Peeters,  Jan  (1624-1682),  109 
Pencz,  Georg  (i 500-1 550),  273 
Perugino,    Pietro     (1446-15  23), 

26 
Pier,  Lange.    See  Pieter  Aertsen 
Pietro  di   Cosimo   (1462-1521), 

213 
Pintoricchio  (1454-1513),  169 
Piombo,  Sebastiano  del   (1485- 

1547),  43 
Pockwalszki,  K.  (19th  century), 

293 
Poel,    Egbert    van    der    (162 1- 

1667),  244 
Poelenburg,  Cornelis  van  (1586-- 

1667),  118,  193,  239,  246 
Porcellis,  Julius  (17th  century), 

247,  290 
Pordenone,  il  (active  1524-1542), 

2,  217 
Pot,  H.  G.  (1600-1656),  238 
Potter,  Paul  (1625-1654),  259 


328 


1^n^ex 


Pourbus,  Frans  the  Elder  (1545- 
1581),  98,  200,  233,  283 

Pourbus,  Frans  the  Younger 
(1569-1622),  98 

Pourbus,  Pieter  (1510-1584),  98 

Poussin,    Gaspard    (1613-1675), 

72,  263,  276 

Pous^n,  Nicolas  (i594-i665),72, 

235,  269,  276 
Predis,     Ambrogio    de     (active 

1480-1510),  25 
Preissler,  Jan  (19th  century),  292 
Previtali,   Andrea    (1470-1528), 

39 
Primaticcio,    Francesco    (1504- 

1570),  268 
Procaccini,  Cesare  (1548-1626), 

65,  219,  269 
Puligo,  Dom.  (1475-1527),  275 
Puttner,  Josef  (1821-1881),  293 
Puttner,  Walther  (19th  century), 

293 

Quadal,  M.  F.  (end  i8th  cen- 
tury), 203 
Quast,  Pieter  (1606-1647),  122 
Quellinus,  Erasmus  (1607-1678), 
3,  233 

Raffalt,  Ignaz  (1800-1857),  154 
Rahl,  Karl  (1812-1865),  156 
Raphael  (1483-15 20),  2,  6,  27- 

29 
Rebell,  Josef  (1787-1828),  155 
Rembrandt    (1606-1669),     120, 

122,  187,  229-231,  247,  265, 

282,  290 
Renesse,  Jan  van  (17th  century), 

262 
Reni,  Guido  (1575-1642),  3,  67, 

178,  220,  287 
Ribera,    Giuseppe    (1588-1656), 

70,  218,  278 
Ricci,    Sebastian©    (166 2-1 734), 

208 
Riccio,   Domenico   (1494-1567), 

268 
Rigaud,  Hyacinthe  (i 659-1 743), 

73,  246,  283 


Robusti,  Jacopo.  See  Tinto- 
retto 

Romako,  Anton  (born  1835),  3^3 

Romanino,  Girolamo  (1489- 
1566),  58 

Romano,  Giulio  (1492-1546),  3, 
29 

Rombouts,  Theodoor  (1597- 
1637),  233 

Roos,  Josef  (i 726-1 805),  203 

Rosa,  Salvator  (1615-1673),  70, 
277 

Roth,  August(i9th  century),  298 

Rottenhammer,  Johann  (1564- 
1623),  183 

Roymerswale,  Marinus  van  (act- 
ive 1521-1558),  93 

Rubens  (1577-1640),  3,  5,  99- 
107,  197-200,  209,  221,  225- 
228,  233,  261,  265,  282,  289 

Ruisdael,  Jacob  van  (1628- 
1682),  125,  195,  247,  259, 
290 

Russ,  Robert  (born  1847),  206 

Ruysch,  Rachel  (1664-1750), 
127,  201,  245,  261 

Ruysdael,  Salomo  van  (1600- 
1670),  240 

Ryckaert,  David  III  (161 2- 
1661),  116,  262,  273 

Sacchi,  Andrea  (1599-1661),  68 
Saftleven,      Cornells      Herman 

(1606-1685),  118,  236,  260, 

290 
Salaino,     Andrea     (1458-1510), 

268 
Sandrart,  Joachim  (i  606-1 688), 

148,  233 
Sarto,  Andrea  del  (1486-1531), 

16,  212 
Sassoferrato,  Giovanni  Battista 

(1605-1685),  68,  178,  220 
Savery,    Roelant    (15  76-1639), 

107,  243 
Savoldo,      Giovanni      Girolamo 

(1480-1548),  57,  218 
Schalcken,      Godfried      (1643- 

1706),  130,  231,  242 


/ 


Ifn&ex 


329 


Schauffelein,    Hans    L.    (1480- 

1539),  142 
Schedone,    Bartolomeo    (1570-- 

1615),  269 
Schiavone,  Andrea  (1522-1582), 

52 
Schindler,  E.  J.  (1842-1892)  206, 

294 
Schindler,  Karl  (19th  century), 

298 
Schmidt,  J.  M.  (1718-1801),  203 
Schonleber,  Gustav  (born  1852), 

292 
Schongauer,  Martin  (1449-1491), 

135 
Schraudolph,  J.  (1808-1879),  204 
Schut,  Cornelis  (1597-1655),  273 
Schwarz,  Christian  (1550-1597), 

148 
Schwind,     Moriz     Ritter     von 

(1804-1871),  156,  204,  294 
Sebastiani,  Lazaro  (1450-1508), 

173 
Segantini,  Giovanni  (1858-1898), 

309-312 
Seghers,  Daniel  (1590-1661),  97 
Seisenegger,  Jacob  (1509-1567), 

147,  274 
Sesto,  Cesare   da    (1477-1523), 

26 
Seybold,  A.  (i8th  century),  233 
Skarbina,  F.  (1849-1910),  206 
Slingelandt,   Pieter  van   (1640- 

1691),  290 
Snayers,  Peter  (1592-1667),  3, 

108 
Snyders,  Frans  (1579-1657),  112, 

254 
Sodoma  (1477-1549),  21,  31 
Solario,  Andrea  (1460-1515),  23, 

212 
Spagnoletto,  lo.    See  Ribera. 
Spranger,  Bartholomaeus  (1546- 

1625),  148,  183 
Steen,  Jan  (1626-1679),  124,  238 
Steenwyck,    Hendrik    van,    the 

Elder  (i 550-1 603),  108 
Steenwyck,    Hendrik    van,    the 

Younger  (1580-1648),  108 


Steinfeld,    Franz     (1787-1868), 

154 
Steinle,     Eduard     Ritter     von 

(1810-1886),  156 
Stella,  Jacques  (1595-1657),  72 
Storck,    Abraham    (1630-1710), 

273 
Streek,     Juriaen     van     (1632- 

1678),  127 
Strigel,    Bernhard    (1460-15  28), 

143,  248 
Stuck,    Franz    (contemporary), 

308 
Sueur,  Eustace  le  (1616-1655), 

277 
Sustermans,  Joost  (1597-1681), 

113 
Sweerts,   Michiel    (middle   17th 
century),  273 

Tadema,  L.  Alma  (born  1836), 

296 
Teniers,  Abraham  (16 29-1 670), 

117,  243 
Teniers,  David  the  Elder  (1582- 

1649),  114 
Teniers,     David    the    Younger 

(1610-1690),    3,    114,    190, 

241,  244,  262,  266, 273 
Terborch,    Gerard   (161 7-1 681), 

128,  256,  265 
Theotocopuli,    Domenico.      See 

el  Greco 
Thielen,  Jan   van    (16 18-1667), 

97 
Thoma,  Hans  (born  1839),  302 
Tibaldi,  Pellegrino  (1527-1591), 

66 
Tiepolo,       Giovanni       Battista 

(1696-1769),  64,  179,  234 
Tilborch,  Gillis  (1625-1678),  109 
Tintoretto,     Domenico     (1562- 

1637),  56,  219,  275 
Tintoretto,  Jacopo  (1518-1594), 

53-56,  177 
Tisoio,  Antonio  (begin  i6th  cen- 
tury), 216 
Titian  (1477-1576),  2,  3,  4,  47- 

52,  176,  216,  267 


330 


Ifnbcx 


Toledo,    Juan    de    (1611-1665), 

281 
Toorenvliet,  Jacob  (1641-1719), 

246 
Torres,  Mathias  de  (1631-1711), 

180 
Trenkwald,    Josef    Ritter    von 

(1824-1897),  157 
Troy,  Francois  de  (i 645-1 730), 

277 
Troyon,  C.  (1810-1865),  162 
Tulden,   Theodoor   van    (1606- 

1676),  107 
Tura,     Cosimo     (active     145 1- 

1498),  21,  214 

Uden,  Lukas  van  (i  595-1 660), 

243 
Uhde,    Fritz    von    (1848-1911), 

159,  303 

Valckenborch,  Lucas  van  (1540- 

1622),  96,  243 
Varotari,  Alessandro.     See  Pa- 

dovanino 
Vasari,      Giorgio     (1511-1574), 

26 
Vecchio,     Pietro    della     (1605- 

1678),  268 
Velasquez    (i 599-1660),    76-79, 

180,  280 
Velde,  Adriaen  van  de   (1635- 

1672),   126,   195,   247,   260, 

273 
Velde,    Esaias    van    de    (1590- 

1630),  243,  286 
Velde,    Willem   van   de    (161 1- 

1693),  197,  247 
Veneziano,  Lorenzo  (second  half 

14th  century),  170 
Venusti,  Marcello   (1505-1576), 

169 
Verelst,    Pieter    (active    1648- 

1666),  122 
Vermeer  van  Delft,  Jan  (1632- 

1675),  257 
Vermeer     van     Haarlem,     Jan 

(1628-1691),  236,  246,  260 


Vernet,    Claude   Joseph    (1712- 

1789),  74,  202,  277 
Veronese,      Bonifacio      (active 

1510-1540),  46 
Veronese,    Paolo     (1528-1588), 

62 
Vivarini,  Alvise  (1440-1503)  38, 

171 
Vivarini,    Bartolommeo    (active 

1450-1499),  35 
Vlieger,  Simon  de  (1601-1653), 

127,  197,  237,  247,  254 
Vliet,  Hendrik  van  (1611-1675), 

197 
Voltz,  J.  F.  (1817-1886),  205 
Vos,    Cornelis    de    (i 585-1651) 

107,  113,  180,  283 
Vos,  Marten  de  (153 2-1603)  233, 

272 
Vries,  Hans  Vredeman  de  (I527- 
I6o4),  96 

WaldmuUer,  G.  F.  (1793-1865), 

155,  204,  301 
Watteau,  Antoine  (1684-1721), 

73 
Weenix,  Jan  (1640-1719),   117, 

^  254,  261 
Weiner,  Hans  (i 626-1 650),  274 
Werff,  Adriaen  van  der  (1659- 

1722),  244 
Weyden,  Rogier  van  der  (1400- 

1464),  84 
Wildens,  Jan  (1586-1653),  237 
Witte,  Emanuel  de  (161 7-1692), 

197 
Witz,      Konrad       (1401-1447), 

134 
Wolgemut,  Michael  (1434-1519), 

249 
Wouwerman,  Philip(i6i9-i668), 

127, 193, 239, 244, 260 
Wtewael,  Joachim  (1566-1638), 

98 
Wyck,      Thomas     (1616-1677), 

290 
Wynants,  Jan  (1625-1682),  126, 

193,  247,  285 


irn&ei 


33^ 


Zampieri,   Domenichino    (1581- 

1641),  269 
Zeeman  (1623-1665),  127 
Zeitblom,  Bartholomaeus  (1460- 

1516),  249,  283 
Zelotti,     Battista     (153  2-1 59  2), 

64,  234 


Zimmermann,  A.  (1809-1878), 
161,  313 

Zoppo,  Marco  (1455-1498),  21, 
214 

Zuloaga,  Ignacio  (contem- 
porary), 297 


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